Regina Silveira | GRAPHOS
The exhibition GRAPHOS, a solo show by Regina Silveira, presents her artwork of the same name, conceived in 1991, several years before her first exhibition at Luciana Brito Galeria in 1998. This recovery of an unrealized work represents nearly three decades of collaboration and shows the evolution of Regina Silveira's research, which has always been at the forefront of studies in perception and visual representation, keeping step with new technological possibilities in art. The site-specific installation GRAPH was initially designed following analog graphic rules to correct the architectural perspectives of Storefront for Art and Architecture in New York during her John Simon Guggenheim Foundation fellowship (1991). Although it was selected for implementation, the building's preservation rules prevented the project's execution, since at that time the artist painted her works directly on the walls.
Thirty-four years later, the artist is now revisiting the same installation for the similarly structured space of Luciana Brito Galeria's pavilion, with its distinctive triangular floor plan. For this purpose, GRAPH has been adapted to digital graphic resources, enabling the production and application of adhesive vinyl on the pavilion walls, virtually correcting its irregular angles from the viewer's perspective. Regina Silveira harnesses digital technology tools to develop and execute her works, allowing her to work remotely. For example, the artist recently inaugurated her commissioned work Paradise at George Bush Intercontinental Airport (IAH) in Houston (TX – USA).
The exhibition is also presenting GRAPHOS 6 (CARACOL), another project from the 1990s that reinforces the importance of location and viewpoint. A recurring element in the artist's investigation, the staircase – this time produced in engraved sheets of aluminum – challenges our perception of reality through distortions, depth, and perspective. The first staircases conceived by Regina Silveira were shown in 1984 as paintings on panels in the exhibition Simulacros at MAC-USP, as part of her doctorate at ECA-USP. Another work following this same visual language, the lithograph SEM FIM (1993), is also featured in this exhibition at the gallery
