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Lot Essay
« L'œuvre de Vieira da Silva surgit et l'aiguillon d'une douce force obstinée, inspirée, replace ce qu'il faut bien nommer l'art, dans le monde solidaire de la terre qui coule et de l'homme qui s'en effraie. Vieira da Silva tient serré dans sa main, parmi tant de mains ballantes, sans fermeté, sans lacis, sans besoin, quelque chose qui est à la fois lumière d'un sol et promesse d'une graine. Son sens du labyrinthe, sa magie des arêtes, invitent aussi bien à un retour aux montagnes gardiennes qu'à un agrandissement en ordre de la ville, siège du pouvoir. Nous ne sommes plus, dans cette œuvre, pliés et passifs, nous sommes aux prises avec notre propre mystère, notre rougeur obscure, notre avidité, produisant pour le lendemain ce que demain attend de nous ». - René Char (in Préface au catalogue de l’exposition Vieira da Silva, Galerie Jeanne Bucher, Paris 1960)
“Vieira da Silva's work emerges and the spur of a gentle, stubborn, inspired force replaces what must be called art, back into the solidary world of the sinking earth and the man frightened by it. Vieira da Silva holds tightly in her hand, among so many flailing hands, without firmness, without lace, without need, something that is both the light of a soil and the promise of a seed. Her sense of the labyrinth, her magic of the edges, invite both a return to the guardian mountains as an orderly enlargement of the city, seat of power. We are no longer, in this work, folded and passive, we are in the grips of our own mystery, our obscure redness, our greed, producing for tomorrow what tomorrow expects of us. - René Char (in Preface to the catalog of the Vieira da Silva exhibition, Jeanne Bucher Gallery, Paris 1960)
“Vieira da Silva's work emerges and the spur of a gentle, stubborn, inspired force replaces what must be called art, back into the solidary world of the sinking earth and the man frightened by it. Vieira da Silva holds tightly in her hand, among so many flailing hands, without firmness, without lace, without need, something that is both the light of a soil and the promise of a seed. Her sense of the labyrinth, her magic of the edges, invite both a return to the guardian mountains as an orderly enlargement of the city, seat of power. We are no longer, in this work, folded and passive, we are in the grips of our own mystery, our obscure redness, our greed, producing for tomorrow what tomorrow expects of us. - René Char (in Preface to the catalog of the Vieira da Silva exhibition, Jeanne Bucher Gallery, Paris 1960)