Conséquences contradictoires cuts to the very heart of the ideas that defines Vieira da Silva's work as an artist. The strict regimented lines, the abstracted sense of perspective and the rich palate of warm colours presents us with a work that is both familiar and yet, at the same time, disorientating. Its grid like pattern is reminiscent of an aerial view of city street plan but on approaching the painting the maze-like layout plunges us into a zone of deep receding planes that is quite unlike the work of any of her contemporaries. Crucially, the picture bares the traces of its own construction, of the artist's slow and meticulous movements in conjuring up this landscape of the mind: "In adding little stain after little stain, laboriously, like a bee, the picture makes itself. A picture should have its heart, its nervous system, its bones and its circulation. It should resemble a person in its movements" (Vieira da Silva, quoted in G. Weelen and J.-F. Jaeger, Vieira da Silva, Geneva 1993, p. 91). The picture has thus come into existence in part through organic means, as a direct product of that same sense of chance and hazard that it records.