Martín Silva's painting could be described as a carriage and reconsideration. Hauling, not only because the artist might take pre-established images, but because his studio seems to become a sort of warehouse or storage room, where images and works of art -or attempts at them- accumulate, and where perhaps, years later, they might find meaning where they had none when there, rejected for their lack of relevance and opportunity. The studio becomes a cellar; these materials see time pass and the artist returns to them, to the barrel to decant and recover them. This also means that the studio is a kind of cartographic archive; in the midst of all the disorder, in the process of searching, or an almost disinterested drift disinterested by everything that accumulates there, the artist comes across disclaimers or feints that over time or by the circumstances of each project, can turn them into valid and relevant materials: they are like flashbacks, a return to the past through these remains that show him how newly opened solutions and newly trodden paths (...)".

 Juan Francisco Rueda.