Silent Depths
For Elroy Salam – a visual artist and fashion photographer from Ghana – his residency at AIR – ARTIST IN RESIDENCE Lower Austria marked not only his first time outside of Africa, but also a deeply personal and artistic exploration of the unfamiliar.A glimpse into the silent depths
An interview with Elroy Salam
It was a journey of many firsts. For Elroy Salam – a visual artist and fashion photographer from Ghana – his residency at AIR – ARTIST IN RESIDENCE Lower Austria marked not only his first time outside of Africa, but also a deeply personal and artistic exploration of the unfamiliar. Krems, with its quiet winter atmosphere, historical architecture, and ever-present sense of spirituality, became a space of resonance – where new questions, images, and emotions began to take shape.
Salam’s photographs capture moments that linger between proximity and distance, between the visible and the invisible. In sacred spaces, snow-covered streets, and small everyday encounters, he discovered motifs that spoke to him on both a visual and emotional level. Solitude – initially a challenge – soon became an integral part of his creative process, sharpening his perception and deepening his engagement with the world around him.
In an interview, the artist reflects on what it means to encounter a new culture, how rituals and intuition shape his practice, and the quiet power of images that suggest more than they reveal. And he shares how a place – with all its textures and silences – can translate into an artistic language that resonates long after the moment has passed.
Your stay at AIR – ARTIST IN RESIDENCE Lower Austria was the first time you had been outside of Africa. Did you like it?
Yes, I did. It was both an exciting and introspective experience. The change in atmosphere, culture, and even the pace of life was something I found interesting to observe and absorb.
What was the most challenging thing for you, being here, in a strange country and culture?
The most challenging part was adjusting to the solitude and the quietness of Krems, especially compared to the energy I'm used to back home. It made me more reflective, which was good for my work but also forced me to confront certain emotions and thoughts more directly. The weather was also a factor. I’m used to a much warmer climate, so winter was something I had to navigate.
During your stay you took many photos of different motifs. How did you choose your motifs? What inspired you?
My process is very instinctive. I’m drawn to things that evoke a sense of stillness, mystery, or emotional depth. In Krems, I was drawn to how the history, spirituality, and everyday life blended in the landscape. The architecture, religious symbols, and even small, seemingly mundane objects carried a sense of time and human presence that I found compelling.
What was your favorite scenery / motif that you captured?
All my works are my favorite. But if I am to choose, I'll say it's the image with the woman lying in front of the stone monument/sculpture with the sideways cross cut out of it. The scene has an almost ethereal feel to it. There’s a quiet tension between the woman and the stone sculpture, almost like a visual metaphor for transition, surrender, or contemplation of the afterlife. To me, the contrast between the softness of the fabric, the roses, and the rough texture of the stone feels like a modern reinterpretation of mortality and spirituality. Overall, it embodies a lot of the themes I’ve been exploring – ritual, spirituality, and the delicate balance between presence and absence.
Do you prefer staged photos to snapshots?
I appreciate both, but my work often leans towards staged conceptual photography because I enjoy crafting a narrative within a frame to tell a story. However, being in Krems encouraged me to explore more things that felt raw and unplanned.
What made Krems special for your work? What did you appreciate in this respect?
Krems hat eine gewisse Stille, die es mir ermöglichte, langsamer zu werden und intensiver zu beobachten. Die Geschichte, die in der Stadt verankert ist, die religiösen Bilder und sogar das gedämpfte Winterlicht haben meinen Zugang zur Fotografie beeinflusst. Es war auch spannend, mit einer Kultur in Berührung zu kommen, die sich so sehr von meiner eigenen unterscheidet – und dennoch Verbindungen zu finden in Themen wie Gewohnheiten und dem Vergehen der Zeit.
You took many pictures of churches. Do you have a special fascination for them?
Not necessarily from a religious standpoint, but more in terms of their architectural presence and symbolic weight. The churches held centuries of stories within their walls, and I find that intriguing. The way light interacts with these spaces, the sense of devotion they carry, are elements that resonate with my artistic sensibilities.
You photographed a collection of small pieces of paper with wise sayings attached to tea bags. What is that all about?
That was something I stumbled upon, and it immediately reminded me of Ataya, a tea culture project I had just completed before coming for the residency. In West Africa, tea sessions are often accompanied by conversations that carry wisdom, humor, and reflections on life. Seeing these tea bag sayings felt like a Western parallel.
What did you take from your stay in Krems? Do you think it has a long-lasting impact on your work?
Absolutely. It gave me a new perspective on space, solitude, and how environments shape artistic expression. I also became more aware of how I interact with unfamiliar landscapes and how they, in turn, influence my creative decisions. I think elements of what I explored in Krems will surface in my future projects in ways I might not even realize yet.