Regina Silveira
A Arte de Desenhar, 1980
fotocópia única
unique photocopy
unique photocopy
47,7 x 29,4 cm
18.77 x 11.57 in
18.77 x 11.57 in
Further images
Regina Silveira’s artistic research questions the orthodox, preestablished forms of representation, leading her to work with new possibilities of signification. Her works explore the architectural and contextual space, generally evoking a sense of uncanniness through the displacement of the commonplace, that is, our common references. Regina Silveira is known for her research into the principles of perspective, tridimensionality, and the study of shadows, which she employs in large site-specific installations, vinyl cutouts, luminous projections, works in printmaking, embroidery, porcelain, digital videos, etc.
Regina Silveira’s career is inextricably bound with the history of Brazilian contemporary art. Since the late 1950s, she has been a leading figure in the advance of artistic research, paving the way for new approaches for visual representation and the composition of images.
In the historic series A Arte de Desenhar [The Art of Drawing], Silveira uses technical drawing to conceptualize visual representation. The works are divided into two parts: the upper section shows various hand positions, while the lower section features a single hand in a definitive pose. This investigation reflects Silveira’s long-standing engagement with drawing, which has inspired numerous other works focused on the depiction of hands, including Dividing Line.
A trajetória de Regina Silveira confunde-se com a história da arte contemporânea brasileira. Desde o final da década de 1950, a artista tem sido grande protagonista na evolução da pesquisa artística, abrindo os caminhos para o desenvolvimento das diferentes frentes de representação e composição da imagem.
Na série histórica “A Arte de Desenhar", a artista utiliza o design técnico para conceitualizar a representação visual, com desenhos divididos em duas partes. Na superior, várias posições das mãos e, na metade inferior, uma única mão em posição definitiva. Essa pesquisa demonstra a relação longínqua de Regina Silveira com o desenho, tanto que deu origem a vários outros trabalhos de representação das mãos, inclusive “Dividing Line”.