The core problem Inés Silva sets herself in her works is that of achieving eurhythmy in them. The experience and knowledge acquired in her double profession (double rather than two, because they are joined in the aesthetic) as an architect and, above all, as a visual artist, equip her to fulfil her aims completely, as her works show. That is why the title is so apt: it announces at once the content and the meaning of what, without any vanity, she truly offers us in her exhibition.
Eurhythmy is the classical term for the aesthetic quality of the harmonious combination created among the various components of a work of art. In this case it is the harmonious arrangement of proportions, lines, forms, volumes, spaces, colors and movements, as objective factors to be set in motion.
Inés Silva’s works are three-dimensional (plus movement, or their modifications); that is, they are sculptures, understood as configurations of space. In each one, space folds and unfolds upon itself as the effect of an interactive relationship with the viewer, brought about by the mutable character of the work. In this way each work multiplies into its possible variations without ever losing the coherence between its parts, or the eurhythmy that makes them transcend. This is an art that deliberately turns away from the irrationality and pathos that prevail in a violent and anguished society such as ours. Inés Silva trusts in the aesthetic and humanistic virtues of reason as the guide of her creative experiences; with the greatest mathematical rigor (geometry is part of mathematics) she carries those experiences through to their ultimate eurhythmic consequences in works of extreme constructive purity, utterly uncontaminated, removed from the tragic sense of life and from the dark regions of the soul.
Perán Erminy
Translated from the Spanish.