A collection of work by the Gerald Saladyga

About the Artist

Gerald Saladyga is a Connecticut native and currently lives in Hamden with a studio in downtown New Haven. He received a BA from Sacred Heart University, Fairfield, CT. and an MA equivalent teaching degree from Southern Connecticut State University, New Haven, CT. However, his major art education took place at the Art Student’s League in New York City.

In recent years, he has received two grants from Connecticut Commission on Art and Tourism, the state’s One Percent for the Arts and Weir Farm Trust Visiting Artists Program.

Saladyga has exhibited extensively in his 30 year career throughout Connecticut, Massachusetts and New York City and most recently at The Gallery of Contemporary Art at Sacred Heart University, Bpt., CT.; University of Connecticut at Stamford Art Gallery; Arnold Bernhard Center for the Arts and Humanities, University of Bridgeport; Connecticut Commission on the Arts Gallery, Hartford, CT.; Artspace and Kehler Liddell Gallery, New Haven, CT.; 22 Haviland St. Gallery, Norwalk, CT.; Art/place, Fairfield, Ct.; and Silvermine Guild of Artist Gallery in New Canaan, CT where he also served on its board of Directors and co-chair of the Gallery Committee.

In the past he has shown in New York City at the Scot Hanson Gallery, the Robertson Gallery and 22 Wooster St. Gallery and in Massachusetts at Gallery Bershad, Somerville; the Grimshaw-Gudewicz Art Gallery, Bristol Community College, Fall River and The Provincetown Art Association and Museum.

His work can be found in many public and private collections, including the State of Connecticut, Housatonic Museum of Art, University of Bridgeport, and the Paul Mellon Arts Center at Choate Rosemary Hall in Wallingford, CT and Aksia, NYC.

Artist Statement

I consider myself a landscape painter, but not in the traditional sense. For me, landscape means everything about the cosmos—within, on and outside the planet on which we live.

I began this particular artistic venture about seven years ago painting light as the American Luminist painters did in the mid-nineteenth century, but within a contemporary, all-over, minimalist framework — paintings that are reminiscent of the beauty and joy of first sight and interpretation. I did this by applying closely positioned dots of paint on to a horizontal canvas or piece of paper textured with layers of color. This gave an encompassing impression of stark light in its many variations.

As I developed and fine-tuned this technique, my gaze went from looking outwards to looking back and within the landscape. Picking up on the various and newly published Landstat, global positioning and other geographical photography, I imagined primary landscapes as viewed from beyond the planet looking back on it, and from within the planet looking out, suggesting the beauty as well as the fragility of the earth’s early atmosphere, crust and mantle.

I truly believe that with all the new scientific and technological visual information from which we can view our environment, as a painter one can no longer rely on 19th century formulas for painting landscapes that lack the recognition of the immediate encroachment of urban sprawl, pollution, and natural and human devastation.

I look at my work not only as a political, environmental and ecological statement, but also as a complement and continuation of an already developed and defined genre of landscape painting.

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