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ANDREW SALGADO

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    • TEN (2017)
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    • The Snake (2016)
    • A Quiet Man (2015)
    • Storytelling (2014)
    • Variations on a Theme (2014)
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    • CONTACT & BIO
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    • TEXT

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    • Glory! (July 2026)
    • Self-Portrait as a Stack of Books (May 2025)
    • Tomorrow I’ll Be Perfect (November 2023)
    • A Few Of My Favourite Things (July 2023)
    • Good Things (April 2023)
    • The Lotus Eaters (October 2022)
    • A Never-Setting Sun (April 2022)
    • In the Springtime We’ll Go Dancing (2021)
    • Strange Weather (2020)
    • Paper-Bag Prince (2019)
    • Zona Maco (2019)
    • Blue Rainbow (2018)
    • Dirty Linen (2018)
    • Nature Boy (2018)
    • TEN (2017)
    • A Room With A View of the Ocean (2017)
    • The Fool Makes A Joke At Midnight (2016)
    • The Snake (2016)
    • A Quiet Man (2015)
    • Storytelling (2014)
    • Variations on a Theme (2014)
  • ABOUT
    • CONTACT & BIO
    • CV
    • TEXT
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Glory! (July 2026)

Glory! 
BEERS London
51 Little Britain
London, EC1A 7BH

Opening Preview: Thurs. 16 July (6-8pm)
Exhibition 17 July – 12 Sept. 2026

Visit BEERS London site here

BEERS London is pleased to present a new body of work by Andrew Salgado. For the first time, Salgado turns away from the portrait and figure that have defined his work for more than a decade, presenting a series devoted exclusively to flowers.

At once funereal and joyous, these exuberant compositions occupy a space between celebration and mourning, glory and uncertainty. Bursting with colour and vitality, they embrace contradiction: frustration and release, restraint and abandon, beauty and decay.

These paintings emerged from Salgado’s increasingly literary approach to painting. In recent years, his exhibitions have been accompanied by extensive writing and narrative frameworks. Here, he moves in the opposite direction, pursuing a more immediate language rooted in gesture, sensation, and the emotional possibilities of paint itself.

At the heart of this body of work is a search for freedom. Where the figure can become burdened by assumptions of psychology, identity, and narrative, the flower offers something closer to pure idea. These are not flowers in any conventional sense, but dreamlike notions of the floral that hover between recognition and abstraction. The flower becomes less a subject than a catalyst, allowing both artist and viewer greater freedom of interpretation.

Flowers arrive laden with centuries of symbolism, evoking beauty, mortality, devotion, abundance, and transience. Salgado embraces this history while resisting singular interpretation. Colour, gesture, and painterly incident become the primary vehicles through which meaning emerges.

Ultimately, these paintings are less about flowers than they are about possibility. Rooted in play, experimentation, and liberation, they expand Salgado’s longstanding interest in emotional intensity while allowing painting itself to take centre stage. Rather than marking a departure, they reveal another facet of an evolving practice—one driven by intuition, uncertainty, and a willingness to explore new dimensions of the artist’s own creative identity. If there is a defining gesture here, it is not one of abandonment, but of curiosity: the confidence to embrace change while continuing to pursue the questions that have always animated the work.

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© 2026 ANDREW SALGADOMINIMAL

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