Since the late 1950s, Regina Silveira has played a central role in the evolution of artistic research, opening paths for new approaches to image representation and construction.

 

The historical drawing series In Absentia (1982) presents images meticulously built from the shadows of objects that are no longer there – in this case, referring to works by Marcel Duchamp and Man Ray. These drawings pioneered an approach she would later expand in larger installations. Rather than depicting the objects themselves, Silveira gives form only to their projections through distorted, enlarged or displaced silhouettes, creating images that evoke something that once existed but has slipped from view. These works reveal her investigation into the limits of representation and anticipate central themes in her practice, such as visual perception, the principles of perspective, three-dimensionality and the study of shadows.

 

 

 

A série histórica de desenhos "In Absentia" (1982) traz imagens meticulosamente construídas a partir de sombras de objetos que não estão mais ali, neste caso referindo-se aos artistas Marcel Duchamp e Man Ray, que posteriormente possibilitaram instalações maiores. Em vez de representar os objetos em si, a artista dá forma apenas às suas projeções, por meio de silhuetas distorcidas, ampliadas ou deslocadas, criando imagens que evocam algo que existiu, mas escapou ao campo visual. Esses trabalhos revelam a investigação de Regina Silveira sobre os limites da representação e antecipam temas centrais de sua obra, como percepção visual, princípios da perspectiva, tridimensionalidade e estudo das sombras.