Salman Toor talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Toor was born in Lahore, Pakistan, in 1983, and lives and works in New York. His paintings capture everyday moments in the lives of fictional young, queer, Brown men. Set within private and public environments, these scenes speak of a wealth of feelings and experiences, ranging from touching domestic intimacy and love, to communal solidarity, to societal precarity and violence. While abundantly concerned with contemporary life and identity, Salman’s paintings are informed by a deep passion for historic art, both in Western and South Asian traditions. The result is a body of work of immense technical sensitivity and beauty, shot through with poignancy and wit. He reflects on the growing complexity of his references to the Western tradition of painting in relation to his subject matter. He discusses how the “mist and gaseousness” of a particular shade of green has helped him create particular moods and atmospheres in his work. He talks about playing with conventions in the depictions of certain types of bodies, and exploring and subverting orientalist and racist tropes. Among many other references, he recalls the early influence of Paul Delaroche’s The Execution of Lady Jane Grey (1833) and Pablo Picasso’s Blue Period, the enduring impact of Jean-Honoré Fragonard, whose sweetness is like “a cup of tea with five teaspoons”, and suggests that he enjoys painters who embark on “slightly crazy” transformations of academic painting traditions. He expresses his ongoing admiration for Anton Chekhov’s short stories and discusses how Whitney Houston’s music was important to him and his “chosen family” in his early years in New York. Plus, he gives insight into his life in the studio and answers our usual questions, including the ultimate: what is art for?
Salman Toor: Wish Maker, Luhring Augustine Chelsea and Tribeca, New York, 1 May-21 June.
Please note that this episode contains a contextualised homophobic slur in the title of a group of Salman Toor's works.
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