“TRIPLEX”
TRIPLEX
(SKU. 13331)
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Date
2024 -
Technique
fingerprint on glass and metal hook -
Dimensions
(H x W x D) 41.5 x 29.5 x 8 cm -
Edition
110 + 10PA -
Comes with certificate of authenticity
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Carbono invited artists who kindly developed exclusive editions and donated them to the Américas Amigas project. We are extremely pleased to contribute to this important initiative. Buy an edition and contribute too. All proceeds will go to the project.
Américas Amigas is a Non-Governmental Organization and Human Rights Promotion Entity that fights to reduce breast cancer mortality in Brazil, mainly benefiting the low-income population. The association's actions include: donation of mammograms, donation of mammogram exams, training and qualification of professionals in the area of breast cancer and awareness and information campaigns about the disease. Learn more here .
Regina Silveira's work "TRIPLEX" consists of a digital print on glass accompanied by a metal hook. In this piece, Silveira explores the interaction between three-dimensional objects and their two-dimensional representations, creating an intriguing visual composition that blends physical reality and illusion.
The metal hook fixed to the glass projects shadows that become an integral part of the work. The digital print captures these shadows, while the real hook remains fixed, creating a dialogue between the tangible and the intangible. The piece challenges the viewer's perception by playing with depth and perspective, considering the lighting and viewing angle that alter the appearance of the shadows.
"TRIPLEX" uses glass to reinforce the feeling of fragility and transparency, contrasting with the solidity of the metal hook. The precision of the digital printing adds a contemporary touch to the work, inviting the viewer to reconsider the relationship between the object and its shadow, between the real and the represented, offering a rich visual and conceptual experience.
Biography
Regina Silveira
One of the most internationally renowned contemporary Brazilian artists, Regina Silveira creates installations, objects and two-dimensional works. Among the extensive list of exhibitions in which she has participated in more than thirty cities, we can highlight the 17th and 24th editions of the São Paulo Biennial, the 3rd and 8th editions of the Mercosul Biennial, the 6th Taipei Biennial and the 11th Cuenca Biennial. Winner of several awards and residencies, she has been awarded grants from the John Simon Guggenheim Foundation, the Fulbright Foundation and the Civitella Ranieri Foundation. Her work is included in the collections of the Blanton Museum of Art (USA), MAM – Museum of Modern Art of São Paulo and Bahia, and the Museum of Art of Santa Catarina, among others.
During the 1960s, Regina Silveira began to form an artist, producing mainly geometric engravings. In the following decade, she began to use different media in the same work and, as a pioneer, to work with video, photography, collage, photocopies, and postcards. From then on, she increasingly focused on the theme of the occupation of space, developing projects that subverted the perspective, representation, and perception of the viewer. In the 1990s, the artist gained international recognition through the various awards, residencies, and grants she received. She became even more involved with technological means and even stated that what she did was a “hand-made form of computing.” This was compounded by the specificity of her works for the architectural and spatial context in which they were found. Thus, through vinyl prints, plays with light and shadow, collages, and other direct interventions in the places in which they were created, Regina Silveira presented her most recent poetic discourse. Throughout his academic career, he participated in the training of several artists who today work in the Brazilian and international cultural scene.
For Tadeu Chiarelli, the artist has two main influences that shape her work and “brought as healthy residues from her experience with Iberê Camargo the somber tone of her works, the taste for the expressive deformation of signs, the unrestricted distrust in relation to the effectiveness, in today’s world, of art and its institutionalized codes. With Duchamp, this distrust was transformed into relentless irony, into mordacity aimed at destabilizing the crystallized concepts of art”.
Representative galleries
Luciana Brito Gallery , Sao Paulo
Destaques da carreira
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Instalação “mundus admirilabilis” | 2012 | Mediations Bienalle, Poznan, Polônia | Foto: Eduardo Verderame
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Instalação “Abyssal” | 2010 | Exibida em Lodz, na Polônia. A obra ocupava um espaço de mais de 100 metros quadrados.
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Composta de carros de brinquedo e vinil recortado, “Octopus”, de 2009, foi apresentada na Alexander Gray Gallery, Nova York, EUA | Foto: cortesia Alex Gray Gallery.
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"El Sueno de Mirra y Otras Constelaciones no Museu Amparo" | 2014 | Puebla, Mexico
