Critics

The body blossoms in the house (or an equivalent, a spring, a grove). Now, what defines the house are “sections,” that is to say, the pieces of differently oriented planes that provide flesh with its framework-foreground and background, horizontal and vertical sections, left and right, straight and oblique, rectilinear or curved...These sections are walls but also floors, doors, windows, French windows, and mirrors, which give sensation the power to stand on its own within autonomous frames.

Gersony Silva's works are ever-changing kaleidoscopes. Facture's gesture presented as works distinguished by the nature of the plane and its occupancy. She affords special importance to the light-shade relationship in compositions, particularly her paintings and photographs, thus setting a visual equilibrium devolved into aesthetic nuances of unique authorial power. Representation is mostly adjusted to their forms and spatial trajectory, as in Véu de Maya [Maya veil], hinting at internal syntaxes of the visual processes inherent to the sensory devices Gersony has conjoined, such as the kaleidoscope-like motion and accentuated chromatics derived from the intensity of her experiences as a human being and artist, her consolidated visual-arts background and vigorous trajectory of initiatives in this sphere.

Some of Gersony's works such as Ciclo em Vermelho [cycle in red] or Ciclo em Azul [cycle in blue] arose in response to blue and red musical symphonies. Tones harmoniously combed and related to intensified hues and forms until attaining their utmost expression as a way of revealing the entire amalgam of emotions; internal resonances reconciled with music to materialize as aesthetic sensations. Also reinvigorating the inflexible regime “of thinking about the arts, a regime that implies a certain idea of thought: thought as action imposing itself upon a passive matter.”

Silva's extensions -photographs, performances, artist books, sculptures - these pieces of differently oriented planes organizing her production - show that “there are no straight lines neither in things nor in language. Syntax is the set of necessary detours created in each case to reveal the life in things.”

Her performances and/or their documentations offer the interpretative fervor of utopias from the exordium of her cleansed utopian cocoon based on representation; revealing the need to strut “and walk around; through this grill I must speak, look and be looked at; under this skin, I will have to rot.''

This conceptually and visually procedural mobility implied by Silva's works predominantly circulates as cartographically undefined planes and schemes verging on chromatic exuberance (including transparencies and physiognomic relations with space, viewer and the other extensions [ works]) in an infinite cosmos: in the volcanic crevices of her Fendas series and consequent recurring processual signifieds and interpretations, or the otherness emanating from the constancy and non-fixity of her series Sobre a Areia o Azul [on sand and blue].