Neuschwanstein
N E W S    FROM
Museu de Arte Contemporânea da Bienal de Cerveira

[click here to see the picture]

(02.12.2008 , Portugal, Vila Nova de Cerveira )
SUSSURRO

Flying over human beings’ nest, I spent my life story from uncertainties to uncertainties, hearing complaints, promises, changes, war and deep friendships, with the firm conviction, always, that it was worthy to believe first, and just then to doubt.

Therefore, this path that I am presenting is nothing more than a dialogue with those who want to hear me, and a contribuition for a larger humanity between cultures and an appeal to tolerance.

I continue to be attentive to your voices.

Henrique Silva
October 2008
“Art, in its motor function of transformation of Man,
through its subtle reality, it is anticipated in time to the line of movement of Science and Technique. Art, however, does not seem. When the most, it serves.

To live long years a blue sky and to do it grey.
Henrique Silva has all the colours, which are his.
And in the quickest passage, the privilege of the Art.”


Fernando Lanhas, 1993
In Catalogue of the Exhibition “Henrique Silva – Pintura”, Gallery Paços D’Arte,
Paços de Ferreira
Those who do not know the works of Henrique P Silva, and that saw them for the first time in the inauguration of the exhibition on Saturday, were surprised by for the deliberate choice that the artist possesses to work in “lou ney”, a difficult way, since he quarters very shady pigmentations, which compels the eyes to join themselves. It is a known fact that the normal vision is able to distinguish deviations from shades or contrasts of 5% in the clearer parts, but it is necessary that these shunting lines reach and exceed 25% in the dark parts to be understood.
The genre is not, therefore, within the reach of everyone, and Henrique Silva honours himself to exhibit it, each year, in two Parisian galleries, and in a Swiss gallery…


Extract from the published text in “La Republique du Centre”, 1968, by the time of the Exhibition in Foyer dês Jeunes, Pithiviers, França


Flying over human beings’ nest, I spent my life story from uncertainties to uncertainties, hearing complaints, promises, changes, war and deep friendships, with the firm conviction, always, that it was worthy to believe first, and just then to doubt.

Therefore, this path that I am presenting is nothing more than a dialogue with those who want to hear me, and a contribuition for a larger humanity between cultures and an appeal to tolerance.

I continue to be attentive to your voices.

Henrique Silva
October 2008
“Art, in its motor function of transformation of Man,
through its subtle reality, it is anticipated in time to the line of movement of Science and Technique. Art, however, does not seem. When the most, it serves.

To live long years a blue sky and to do it grey.
Henrique Silva has all the colours, which are his.
And in the quickest passage, the privilege of the Art.”


Fernando Lanhas, 1993
In Catalogue of the Exhibition “Henrique Silva – Pintura”, Gallery Paços D’Arte,
Paços de Ferreira
Those who do not know the works of Henrique P Silva, and that saw them for the first time in the inauguration of the exhibition on Saturday, were surprised by for the deliberate choice that the artist possesses to work in “lou ney”, a difficult way, since he quarters very shady pigmentations, which compels the eyes to join themselves. It is a known fact that the normal vision is able to distinguish deviations from shades or contrasts of 5% in the clearer parts, but it is necessary that these shunting lines reach and exceed 25% in the dark parts to be understood.
The genre is not, therefore, within the reach of everyone, and Henrique Silva honours himself to exhibit it, each year, in two Parisian galleries, and in a Swiss gallery…


Extract from the published text in “La Republique du Centre”, 1968, by the time of the Exhibition in Foyer dês Jeunes, Pithiviers, França

Flying over human beings’ nest, I spent my life story from uncertainties to uncertainties, hearing complaints, promises, changes, war and deep friendships, with the firm conviction, always, that it was worthy to believe first, and just then to doubt.

Therefore, this path that I am presenting is nothing more than a dialogue with those who want to hear me, and a contribution for a larger humanity between cultures and an appeal to tolerance.

I continue to be attentive to your voices.

Henrique Silva
October 2008
To paint, and to colour furniture in Portugal, is an activity that with time became folkloric - it is, therefore, very old.
Today, its continuity is done through standardized forms, therefore without soul, as in many other countries, unfortunately.
Henrique Silva, who lives as a poet, could not help to revolt himself against this emptiness, this fake. I, presume that, facing this invasion of industrial objects, suddenly overestimated and promoted to masterpieces, he believes in another perspective to approach the problem. At last, Henrique Silva is a pure “bricoleur” and it will never be excessively to praise and to affirm the dignity of such a way of living. It is necessary to purify this word from its pejorative sense, to which it is generally associate, to extirpate of it a kind of condescension that hides it, and to reveal, with the veins of the wood, the limitless way of the evasion and the dream, that it proposes. Since Facteur Cheval, until the first Calders made of boards and nails, passing through the surprising and admirable collages of Kurt Schwitters, that language received headings of nobility.
But, therefore, it was not from the Surrealism that the furniture and the objects of Henrique Silva had served themselves - these coffers do not hide any curse, the closets are not of Blue-Beard or Dracula. These drawers do not keep Venetian wigs or poisoned gloves. No, they do not need dramatic artifices. They are not charming, as they are not magic either.
The volumes polychrome is an arduous problem that, since the Greeks, was not truly solved. Henrique Silva looks for a solution. Here the colour, and the drawing, dress and decorate the form, sometimes transforming it, one or the other; making to forget the structure and the geometry, they diminish its evidence.
Without any doubt it is more difficult to register the happiness, than the dramatic, because it does not put in cause the myths that agitate the uneasy depths of the imagination. Through a happy telling way, this furniture brings to us histories of shepherds, of orchards and granaries, of a moment in that, in harmony, we are able to raise our glasses and to drink together, to marvel to ourselves for the hour lived in common, and, however, so ephemeral.

GUY WELLEN
In exhibition catalogue “Peintures, meubles et objects peints” Cultural Centre Villeneuv-sur-Lote, França, 1975













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