In SAL [SALT], Henrique Vieira Ribeiro presents us with a body of work that aligns both the artistic quality and also the deep layer of meaning on which his work is often formed.

     In a first instance, the fascination of the natural world is highlighted, where captive, the gaze of the artist takes on the transformation, the ripple and the correlation of the elements. The enunciation of natural phenomena such as chemical reactions of salt against the different types of soil, opens doors to the universe of the great dichotomies and also the universal symbols of the Sacred.

     Suspicion of the divine - evidence here the strait between religion and art that is based on that power of the human creative act. As suggested by Ernst Cassirer they seem "variations on the same theme" that perhaps dawn a rapture of a particular fervor of the soul and the senses, of an overshoot or extrapolation of itself, an untranslatable feeling of something like faith.

     In "Salt of the Earth and Light of the World" [Matthew 5], we face more than biblical references, we are faced with images of the human dimension, the poetic and imaginary relationships we have established with the tangible and the intangible, images that rise and grow in us, and lift us, filling us perhaps, with the same contemplative sense that have led so many men in temporal and geographical points so distant to relate to and confabulate copiously on these same themes.