artistic context

During the 50s Carlos Silva was part of a generation of artists that not only in Argentina but also abroad felt the need of connecting the public with the art-work, creating a mood of interaction and communication. They started to reject figurative art, diminishing paintings to its minimum essence, leaving aside the need of capturing objects and the real world as they genuinely  were. To these artists, the most important thing was to create subjective ideas and feelings with the objects that surrounded them.

The works of Wassily Kandisky and Piet Mondrian were the main inspiration for the Geometric artists, and Carlos Silva studied them in detail through the many trips he took around Europe and the US. The changes and technological and aesthetic research during that time brought new elements to the works of this group of new creators. The visual experimentation had a main role in their works.
At this moment, a new group of artists interested in Abstraction started to emerge in Argentina. And one of the main supporters was the “Arturo” magazine that became the voice of abstract geometric art rejecting figurative art. In the 60s this tendency opens a new path to movements like the Optic Art, the happenings, the informalism, concrete, neo-figurative and the destructive art movements. From all these expressions Carolos Silva took different to incorporate into his work.