Salisbury employs three elements to activate the work: image, sculptural object and installation. His pieces are mounted on the back of 1 inch cast acrylic protruding out from the wall and they are held in place by aluminum brackets. This presentation serves as more than a mere framing device, but as a vehicle to defy conventional photography's adherence to a two-dimensional plane. The resulting sculptural object releases the image from the wall and challenges our spatial expectations when viewing photography. They hover within the viewer's physical environment and their positioning allows for the psychological effect of free interaction among images.

A moth, a boat, a dramatic coastline; there is a tension between arrested time and instantaneous moments. The non-linear installation works to construct an anti-narrative. Like the infinite hypertext we are faced with everyday on the Internet, the paths we follow among Salisbury's images can never be repeated exactly the same and the meaning is always in a state of flux. The ambiguity and contradiction forces the viewer to experience the work in a subjective way, filling the blank space between image and viewer.

Salisbury has an undergraduate degree from the University of California at Santa Barbara. He has appeared editorially in numerous journals including The New Yorker, New Yorker Magazine, Harper's Bazaar, and Vogue, among others.

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