Although Salih is particularly skilled with using vibrant colour, I’m personally captivated by her greys.
In Undecided, it’s as though she has built up a haziness by meticulously layering washes of paint, and meticulously layering her memories of the landscape.
Appropriately, Salih explains that she draws upon the words of Chekhov, saying,
“the subject must pass through the sieve of my memory so that alone which is important remains.”
The thin watery layers of paint succumb to gravity, creating fine drips that collect at the bottom of the canvas.
In this way the abstract, misty landscape seems both distant and near, depicting an anonymous place while still being subject to the natural phenomena of our own natural world.