The main interest at the centre of Salvatore Arancio’s artistic practice lies in the potential of images. Particularly in how images and their meaning can be re-framed or re-viewed. Each facet of his practice contains an intertwining juxtaposition of the roots and representation of images: natural and artificial, mineral and vegetable, scientific and mythological. Departing from their literal meaning, through the use of a range of media such as ceramics, etching, collage, animation and video, Arancio creates new juxtapositions that are both beautifully evocative and deeply disquieting, aiming to create a sort of atlas of confusion.

He participated to the following biennals: Esposizione d’Arte Internazionale, La Biennale di Venezia, Venezia, Italy (2017);  BI-CITY Biennale of Urbanism/Architecture, Shenzen, China (2020); Biennale Ceramica – 60° Premio Faenza, MIC, Faenza, Italy (2018); Gyeonggi International Ceramic Biennale, Icheon, Korea (2017); Manif D’Art 5, The Quebec City Biennal, Quebec, Canada (2010); Prague Biennale 4, Karlin Hall, Prague, Czech Republic (2009).