My work is part of the practice of drawing and painting, with some recent investigations in engraving, specifically in xylography.
Some themes or concepts have been linked or reiterating since the beginning of my production as an artist.
The interest in time has manifested in my work in Diterant times and with different approaches.
The reference to the passage of time is present in a set of drawings and paintings. A series of girls’ paintings, whom I portrayed again in his adolescence; the drawings of the different stages in the life of a woman; The paintings with a model that has posed being very young and again 20 years later.
The transience of time appears associated with the movement and speed of life in the city, through a series of works on urban spaces such as parks, the subway, the milongas and the food court.
The reference to the present tense appears in the portraits that seek to capture the immediacy of the gesture, but also in the choice of the moments reflected in the urban series.
In the paintings of the parks of recent years, the media and supports chosen -acuarela and gouache on paper- underline this idea.
Landscape. The slight and the subtle, the thin and the aqueous. The immediacy of the gesture as a way of being in a present, ephemeral and fragile time.
An image of the visible world is observed and painted again and again, as a mantra that is repeated until the essence, the strictly necessary, to inhabit the painting.
The thing must be there to be reinvented.
The beauty of the parks is there available to everyone, and invites you to enter other worlds through painting.
The thickness. I find that the haiku, brief Japanese poetry, expresses very well what I feel when my paintings. They are present the same contemplative fascination: astonishment to nature, the observation of the daily world and of the people who are linked to a natural environment.
Recurrent themes in my work are the transience of time, the lightness of the moment, the fragility, the search for beauty. In these paintings I try to express them through the thin, transparent and aqueous matter of the watercolor, the presence of the whites of the paper and the fragility of the support. Thus, in a particular alchemy, the role that comes from nature becomes support, but also line, drawing or flat.
The pictorial process begins with photographs taken with the cell phone, snapshots that I take in walks through my close natural environment and the Palermo parks. From the observation of the photographs I produce a series of inks that then assemble with each other in the manner of the collage, which reconfigures a new landscape. This new drawing is then translated into color, to paint.
Ciudad. Under the title some Buenos Aires are registered four series of paintings made in the city of Buenos Aires between 2009 and 2015: Saavedra Park Instant; Passengers, subway line D; Food court; Between milongas.
With the look in the passenger, these polyptics – realized in public spaces from photographs taken by me – are a portrait of the city in which I was born and alive. They are short scenes, screenshots, fragments that try to capture the rhythm of urban life.
Body. I have always been interested in the study of the body, as a technical exercise and as a subject.
In this insistent and thorough observation of the surface I excite myself with achieving a greater knowledge of human experience.
“As in an disrespectful window of the Cambalaches life has mixed …” (Discépolo)
The works of this series were carried out during the pandemic during the year 2020. Jazz music provides the atmosphere to a set of collages that combine the thick and gestural line of the line, texts and images of the newspapers of that time and saturated plans. The figures were made from a transfminist virtual drawing JAM.
Delineated bodies, crossed by a tragedy, echo of many others.
And the night falls. The set of works and the night falls, as blue on paper belongs to the Entrevero series, which has as themes of teenagers in reading, rest or sleeping. And the night falls, an impressionist event that tries to reflect on the immediacy and fragility of life, expressed in the rapid matter on paper.
My father’s shirt. This work refers to the different origins of my ancestors: Russian, Romanian, Spanish, Italian, Argentine. A shirt from my father that I use to paint works as support or cloth that houses the colors of the flags, mixed like my blood. The tree refers to the family tree. The work also refers to exile, the transitory and inaccurate of the concept of identity and the desire for coexistence between different cultures.
Portrait. The Entrevero series presents indoor scenes with teenagers in reading, rest or sleeping. These drawings evoke others made years ago on these same girls when they were girls, a reference to the passage of time.
On the other hand, these scenes – armed in the living room of my house as a theatrical setting, photographed and then drawn – try to recreate adolescence with my sisters, those moments of leisure or reading. I am interested in the portrait more as a genre that allows you to feel affinity with a scene that as a claim to capture a resemblance.
Here beats the space between things, between sleep and vigil, between childhood and adulthood.
* Visual artist. Autotexts of your book Silvin Resnik. www.silvinaresnik.com /iG: Silresnik
Artist itinerary
Silvina Resnik was born in Buenos Aires. Graduated from the graphic design career at the University of Buenos Aires and the Higher School of Fine Arts Ernesto de la Cárcova. He complemented his studies by attending several seminars and workshops, among others, Julio Racioppi, Guillermo Roux, Juan Doffo, Hermenegildo Sábat, and Marcia Schvartz.
He is a plastic artist and regularly exhibits since 1990 in group and individual samples, locally and internationally. Since 2017 it is part of the Otto gallery staff.
Since 2015, the collective of artists “The Line that Walk” with Andrea Racciatti, Cristina Rochaix and Susana Schnell.
He exercises teaching in visual arts in professors Manuel Belgrano, Lola Mora, Rogelio Yrurtia, in the UMSA, at the Regina Pacis School of Fine Arts and in his private workshop.
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