Horacio Silva, Tras una primera etapa de iniciación adscrita a una suerte de expresionismo matérico y colorista, desarrolla un realismo minucioso, casi fotográfico, próximo al hiperrealismo, al que otorga acentos surreales e intenciones críticas, entre la ironía y el sarcasmo, lo que le emparenta con cierto tipo de pintura preocupada por las cuestiones sociales. Es un periodo en que se manifiesta como dominador precoz de técnicas muy elaboradas con resultados bastantes perfeccionistas. La excelente factura de sus cuadros le permitió acceder al mercado internacional, siempre atento a este tipo de producciones. Durante toda una década, desde principios de los setenta, su pintura se acogió en esta especie de "hiperrealismo mágico", conque fue denominada por algunos. En 1981, el artista lleva a cabo una fuerte ruptura, motivada, quizá, por el deseo de moverse en una plástica más liberada. Cambió toda su concepción pictórica: Horacio Silva se iniciaba con otro lenguaje, muy diferente al que nos había acostumbrado; un lenguaje de acento expresionista, donde el gesto y el movimiento adquirían toda su dimensión protagonista, con evocaciones de los universos cubistas y futuristas. Dentro de este giro, conviene recordar que, de un cromatismo austero y de tonos fríos, pasó a una explosión colorista de gama más cálida. Desde entonces no ha cesado en el empeño, con una formulación innovadora en la que, independientemente de la atmósfera cromática, la cual se ha sometido a distintas variaciones hasta alcanzar una más personal en que parece encontrarse más cómodo el artista, los elementos formales se instalan en el cuadro con una autonomía sólo superada por articulaciones de tensiones, la cual posibilita un dinamismo, una vitalidad, capaz de sostener la unidad de la obra. La construcción interna revela un poderoso concepto compositivo por medio del cual el artista elabora su mundo pictórico, en el que no es ajena la presencia de una figuración insinuada, integrada en el contexto plástico, dentro de un discurso coherente el que no se regatean datos para su lectura.
At the beginning of his career, after an initial phase of colorful and material laden expressionism, he developed a meticulous realism - almost photographic and close to hyperrealism. The artist endowed his work with surreal accents and critical intentions crossed between irony and sarcasm. That related it to the type of painting dedicated to social issues. During this period, the artist precociously dominated elaborate techniques with quite perfectionist results. His painting's excellent quality paved access for him into the international market, which is always looking for this type of production. Since the early 70's and for a whole decade, his painting belonged to this magic hyperrealism, as it was termed at the time. In 1981, a profound transformation took place in the artist's work. Perhaps, it was motivated by a desire to move on to a freer type of visual art. The artist completely changed his pictorial concepts: Horacio Silva began to employ another language; very different from the one he had his public accustomed to. It was a language with an expressionist accent, in which gesture and movement acquired their fullest dimension as protagonists. The new language also contained overtones from cubist and futurist universes. It must be pointed out that within this turnabout - parting from austere chromatic choices based on cool tones - the artist entered into an explosion of color from a warmer range. Since then, he has not ceased in his effort of apply- ing an innovative form of expression not influenced by chromatic atmosphere. (The painter experimented with different variations of atmosphere, until he discovered a more personal one with which he to found himself at ease.) The formal elements related to the new form of expression are arranged in a painting with an autonomy only surpassed by the distribution of ten- sions. This produces dynamism and vitality capable of sustaining the work's unity. The internal construction reveals a powerful sense of composition. Thereby the artist has created his own pictorial universe in which the insinuated presence of figurative representation is not found out of place but rather integrated into the visual context. AII this takes place within a coherent dis- course in which Information for its reading is given without any restrictions whatsoever.
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