American cars have been the central theme of Salt's work since he moved to New York in the late 1960s. For him, the rusting wrecks he saw abandoned on the roadside, were a vivid monument to consumerism and an essential ingredient of the American landscape. He works from photographs he takes himself, projecting the image onto the canvas from which he makes a careful drawing. Using a colour print of the photograph for reference, he completes the painting using airbrush and stencils. This 'hyper-realist' process restricts the role of the painter, removing the element of self-expression and the visible brushstroke. What we read as a photograph is a painting, several stages removed from the original photographic image.