Antonio Saint Sylvestre

Born in 1946 in Nampula, Mozambique, lives and works in France

Welcome Aboard Paris, March 2006

Antonio Saint Silvestre revives the dubious themes of childhood, which he paints in all the colors of the rainbow and sublimates in his eager desire to live life to the full.

Imprisoned in her baby carriage, a little girl with an enormous ice-cream ready to melt beside her mouth, stares challengingly at us, eyes wide open. Two little Chinese girls in evening dress sit quietly waiting for us – but are they really that well behaved? Exposed to snakes and tarantulas, children rule the world, the deceptively innocent tyrants of their soft-in-the-head entourage.

Kids of all colors, from every corner of the world, haunt our sculptor’s imagination.

They take their seats at the feast of life playing on the infinite charm of their deceptively innocent eyes.

A fierce opponent of sentimentality and political correctness, Saint Silvestre uses humor to tackle the child-king myth, giving birth to baby puppets who come into the world grinning sardonically, wolfishly and greedily, ready to dominate the future with fantasies that society has not yet curbed.

The painter-composer of this strange theatrical symphony reminds us that childhood, that mysterious period of our lives, the root of all neuroses, is a world ruled by dreams, where there are no boundaries between one-self and the universe, where one simply needs to grow up to catch the moon, where one plays football with the ear th, and where ever y game of hopscotch ends in the sky.

“Children of the world, play, the future belongs to you!” shouts Antonio Saint Silvestre, as loud and colorful in real life as in his art!

Lélia Mordoch

It’s A Mad World. I Love It! Paris, March 2009

How can we leave a better world for our children? What a mad world they will grow up in. And yet, life is beautiful.

Helpless as we all are before the devastating effects of a society drifting between pollution and globalization, Saint Silvestre fabricates children of all hues and sits them on the same school bench.

Coming from ever y continent, they play under the mischievous gaze of a baby Lucifer who lights up the world with his flickering flame. Boat babies about to be thrown overboard, child soldiers with a rat-a-tat-tat hat, mini-Talibans with a bouquet of dynamite: they are all in the same predicament: they are all cast out into a world whose future is unknown.

Perched on chairs too big for them, they do things quite inappropriate for their age: they work under the aegis of right-thinking states with glorious coats of arms and tuck heartily into genetically-modified sweetcorn.

The crucified child-king dies to the sound of the trumpets of fame.

Dark irony and bright colors prevail in this exhibition with a global impact.

What kind of a crazy world will our children grow up in?

Often inspired by current events, Antonio Saint Silvestre’s works feed our dreams rather than make us weep, while denouncing the realities that people usually seek to hide.

Lélia Mordoch