From September 24 to October 31, 2026, the Elena Salamon Gallery in Turin kicks off its fall season with *Ombre d’oro*, a solo exhibition by Enrica Salvadori, curated by Elena Salamon. The artist, born in Turin and trained at the Accademia Albertina di Belle Arti, has been living for several years between the Piedmontese capital and Buenos Aires—a constant movement that also permeates her artistic practice.
The exhibition revolves aroundthe shadow, understood as a projection of an object’s essence and the possibility of a new identity. Salvadori’s exploration begins with architecture as a living space, capable of revealing limits and beauty, but also of evoking protection, memory, and instability.
In the exhibition, the sculptures juxtapose the white of terracotta, resin-coated plaster, and marble with the polished gold of brass. Miniature architectural structures—staircases reaching toward the void, arches, windows, and surviving walls—coexist with essential and enigmatic forms such as the egg and the sphere. From each work emerges a brass silhouette, resting on the floor or projected onto the surface: a tangible, mirror-like shadow that reflects the viewer and the surrounding space, rendering the object’s outline inverted and multiplied.
The same principle recurs in the collages on paper, where staircases, arches, windows, and eggs are rendered as luminous silhouettes through gold leaf. For Salvadori, gold unites light and shadow, shifting according to the viewer’s perspective: brilliant when struck by light, darker in the half-light. The exhibition opens on Thursday, September 24, at 5:30 p.m., with the artist in attendance.
“Every late summer, I like to kick off the gallery’s season with a foray into contemporary art,” says Elena Salamon,. “It’s a choice I make every year, selecting an artist based on a search that prioritizes expressive authenticity and the ability to create new visual connections. For the 2026 edition, my attention turned to the work of Enrica Salvadori. Her work stands out for the immediate power of its material language: the interplay between the purity of terracotta, plaster, and marble and the luminosity of brass gives rise to a formal tension that takes on the quality of a true aesthetic epiphany. Central to her practice is the poetics of shadow—understood as the hidden essence of things—which finds a direct, unmediated expression here. Presenting Salvadori at the gallery represents an opportunity for me to share an authentic and meaningful artistic vision with the public, transcending all industry-specific logic.”
“Sculpture and installation hold a powerful attraction for me,” explains Enrica Salvadori, “while paper has long served as a transitional medium, useful for building models and prototypes. The turning point came in September 2024, during the artist-in-residence program for Germinale Monferrato: after completing the sculpture dedicated to the ruins of the Tonco tower, in the studio set up inside a deconsecrated chapel, a warm light reflected off the brass fell onto a sheet of paper. The presence on the table of some leftover gold leaf used earlier did the rest. Quite spontaneously, the sculpture took the form of a golden silhouette on the sheet of paper. Ever since my days at the academy, I have loved to depict the work after modeling it, accompanying the transition from the living material of the sculpture to the reflective dimension of the drawing. This series arises precisely at that point of intersection: still lifes of shadows and, at the same time, living landscapes of light.”
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| Turin: Enrica Salvadori Presents “Ombre d’oro” in an Exhibition—Sculptures and Collages Between Light and Darkness |
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