Nacho Martín Silva investigates modalities of representation, exploring ways of seeing through ways of painting and showing. Filled with visual references from the history of art, ranging from painting, sculpture, photography and cinema, to images taken from magazines, newspapers or books, his oeuvre interweaves technical, cultural and conceptual dimensions.Focusing on compositional organisation dynamics, Martín Silva developed a specific approach consisting in building images by means of montage, sequence, association and confrontation while simultaneously using processes of decomposition, deconstruction, fragmentation or syncopation. Thus the artist produces paradoxical images and installations in which the assembled contrasting elements are in a constant state of tension. In - Il futuro non e- che era, the artist juxtaposes three modes of representation of a specific subject matter, that of a standing female figure. The installation combines a small ceramic sculpture and a group of 37 small oil paintings on linen. Among those paintings, one emerges from the others and gives the viewer a complete and unified image of the woman, whereas she appears as partially dismantled through the unconventional montage of the 36 other paintings in which the scale of representation was amplified. Just like pieces of a puzzle that had not fallen into their place, some of the paintings composing the figure have been displaced. While the three dimensional object and the autonomous painting are put on a wall-mounted protruding pedestal, the much larger composition runs on the two perpendicular walls. Doubling the exhibition surface, it expands on both horizontal and vertical planes, thus breaking the representation and the usual delimited frame borders.Evoking the dutch painting tradition of the seventeenth century and the genre scenes of middle-class life, the artist emphasises aesthetic concepts such as those of unity and disruption, of uniqueness and replica, repetition and difference, or similitude and heterogeneity.