Rebecca Salter

Rebecca Salter (born 1955) is a British abstract artist who lives and works in London.

She studied at Bristol Polytechnic and then at Kyoto City University of the Arts in Japan, where she lived for six years. While living in Kyoto, Salter studied traditional Japanese woodblock printing with Professor Kurosaki Akira and has since written two books on the subject. Her interest in printmaking is combined with her main practice in painting and drawing. Until 2016 she was Associate Lecturer on the MA Printmaking Course at Camberwell College of Art, University of the Arts, London.

Rebecca Salter exhibits regularly in London and internationally, and in 2011 she had a major retrospective into the light of things at the Yale Center for British Art, New Haven, Connecticut. A monograph was published to coincide with the show. An accompanying exhibition at Yale University Art Gallery explored links between Western artists and Japan. She has also been artist in residence twice (2003 and 2011) at the Josef and Anni Albers Foundation, Connecticut. Salter has undertaken several architectural commissions including 15 Sackville Street, London W1, St George’s Hospital, Tooting and NGS Macmillan Cancer Unit, Chesterfield Royal Hospital. She has works in many private and public collections including Tate, British Museum, Yale Center for British Art and Yale University Art Gallery.

Rebecca Salter was elected as a Royal Academician to the category of Printmaker in December 2014 and, in June 2017, was elected as the Keeper of the Royal Academy. On 10th December 2019 she was elected the 27th President of the Royal Academy of Arts and became the first female President since the Academy was founded in 1768.

Formerly a ceramicist, she is best known as painter and printmaker. Salter specialises in woodblock printing, combining Western and Eastern traditions. She has written two books on Japanese wood blocks: Japanese Woodblock (2001) and Japanese Popular Prints: From Votive Slips to Playing Cards (2006).

Rebecca Salter’s works spring from process-based experimentation. They are heavily detailed minimal abstractions; with a particular emphasis is given to the interplay between marked and unmarked space on the canvas or paper. The layering of neutral tones often suffuses the work with an ethereal quality, offering a tranquil, yet spellbinding, response to nature.