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The work of Regina Silveira is steeped in the techniques of drawing, printmaking, photography, lighting, and small- and large-scale interventions. She employs social and political parody in order to present personal and collective emotional dimensions, concentrating on the perspective and experience of the spectator. Her artistic research has dealt with the visual image of absence and presence through an artistic and conceptual evocation of Dadaism and Surrealism, with a view to questioning the nature and essence of the senses with regard to perception. This involves the awareness and ideas that may be held by people when defining or interpreting a given object or situation.
The work of Regina Silveira is steeped in the techniques of drawing, printmaking, photography, lighting, and small- and large-scale interventions. She employs social and political parody in order to present personal and collective emotional dimensions, concentrating on the perspective and experience of the spectator. Her artistic research has dealt with the visual image of absence and presence through an artistic and conceptual evocation of Dadaism and Surrealism, with a view to questioning the nature and essence of the senses with regard to perception. This involves the awareness and ideas that may be held by people when defining or interpreting a given object or situation.
In numerous interviews she has cited the Brazilian artist Iberê Camargo and France’s Marcel Duchamp as influences on her style. From the former she draws on the importance of technique as a means and not as an end, as during the process of creation it allows her to explore myriad styles over and above the result. From Duchamp, renowned for his readymades and installations, Regina Silveira uses the many interpretations of his work, always open to an infinity of readings.
In parallel, her artistic output defines critiquing based on everyday occurrences — positive and negative — that situate the spectator on the basis of thought and reason. Her thematic discourse encompasses the use of allegory, symbolism, recollection and visual identities, always wedded to reality<ref>Entrevista: Regina Silveira (''Interview: Regina Silveira ''). Periscopio MUAC. https://www.youtube.com/watch?v=fQlZ2r9tbw0</ref>. Similarly, the appearance of her work calls into question the circumstances connected to it, such as the immediate surroundings, ambiguity in the creation of works of art, and how the latter are altered by the spectator.

Revisión actual - 17:24 13 sep 2021

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Definición del mensaje (Regina Silveira)
Su obra ha estado inmersa en la técnica del dibujo, el grabado, la fotografía, la intervención a menor y gran escala y la iluminación. Utiliza la parodia política y social para presentar dimensiones personales y colectivas emocionales, concentrándose en la perspectiva y vivencia del espectador. Su investigación artística ha abordado la imagen visual de la ausencia y la presencia, evocando conceptual y artísticamente al dadaísmo y el surrealismo; esto con miras de cuestionar la naturaleza y la esencia de los sentidos en relación con la percepción. Lo anterior involucra la conciencia y las ideas que puedan tener las personas para definir o interpretar un objeto o situación determinada.

The work of Regina Silveira is steeped in the techniques of drawing, printmaking, photography, lighting, and small- and large-scale interventions. She employs social and political parody in order to present personal and collective emotional dimensions, concentrating on the perspective and experience of the spectator. Her artistic research has dealt with the visual image of absence and presence through an artistic and conceptual evocation of Dadaism and Surrealism, with a view to questioning the nature and essence of the senses with regard to perception. This involves the awareness and ideas that may be held by people when defining or interpreting a given object or situation.

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