Os “Dilatáveis” surgiram a partir da pesquisa acadêmica de Regina Silveira, na década de 1980, por meio da gravura com apropriação de imagens fotográficas, a partir do estudo da representação de sombras projetadas de forma exagerada e distorcida. Desde então, os conceitos da perspectiva e anamorfose têm norteado a investigação da artista, que atualmente apresenta a série completa dos “Dilatáveis” na 34ª Bienal de São Paulo.
The Dilatáveis arose based on Regina Silveira’s work in the 1980s. Works in printmaking with the appropriation of photographic images, based on the study of representation and art, led the artist to the idea of Simulacros, the theme of her doctoral thesis (1984). That work deals with the representation of shadows projected in exaggerated and distorted ways, questioning the technique of perspective, which later gave rise to the Dilatáveis – graphic works originally produced by a blueprint machine. From then on, these concepts have guided the artist’s investigation, which begins with familiar icons that she then pushes to the limit of recognizability. For her, “Simulacros is a critique of the perspectivized images in their presuppositions of realism, where the transgression of rules gives free play to properties of deformation and emphasizes their artificiality.” Through these works, the artist also approaches political and social questions, recovering icons from the collective imaginary.