THE WORK OF SILVINA BAZ SUGGESTIVE
Silvina Baz is a complete artist. Both in his engravings resolved with a rich variety of resources, as in his drawings, including solutions for the graphic and pictorial moments as using elements of printmaking. Also in his paintings, where color prevails over other planteos. You could say that the techniques used, but have their own imprint, work inseparably. This is so, because the themes that are affirmed in the search of the artist.
 Semi images hidden in the language, and are shown in a double representation, where realities are multiplied in mirrors games, where the self and the other are amalgamated and are the same thing. Nothing is what it seems, everything is a reflection of a hidden world, mysterious and magical. Therefore transcribes a strong spirituality, where you lose the boundaries between self and other, between the visible and the subject that experience, approaching the essence of the origin, where individuality has not yet been demonstrated. The weather got, suggestive and appealing, makes his work a personal world, rich in overtones. I think Silvina transcends the category of art and as an artist he is, can develop their world beyond the techniques used.
MARCOS JESUS, September 2012

"A few lines drawn again and again cause the confinement of color and allow to outline the figure of the female body. attracted by the image of a synthesis meeting where they balance the sensitivity and intelligence ".
JULIO SAPOLLNIK Art critic

"(...) It addresses the human figure from Expressionism, able to interpret the sense of the model. bold palette is by far, the contours are closely united with the image, producing a composition harmonious, with quasi gestural strokes. dialogue there a deliberate line-color attracts so expressive ".
SILVIA PELLEGRINI Art Criticis


THE SENSUALITY OF THE RELIGIOUS SPIRIT
Trilogy: "Experiences of Slavery Corps"
Silvina and their world.

Seduction and the rigor of the woods, tacos, presses, plates, papers (one of the wonders of the world), inks, gouges, acids, varnishes, turpentine, rags, matches between all.
The roughness and by touch, images, absences, the colors, the contrasts. That ancient chiaroscuro.
The poetics of objects.
It feels a density seeking spiritual freedom of the "Slavery of the body".
A road: "Woman in the Mirror" _ "Inner Reflection" _ "The Other Reality". A return to the sources of primarily spiritual.
In his text a wealth of concepts that defy any work. Subjected to the look and understanding others.
"Look inside. Reflection of the soul. Freedom. The look versus the word. Everything happens for one. Male and female gender. Narcissistic culture. Truth. Authenticity. What link. "
impossible not to associate with contemporary embarrassment of those who believe something can be said in any way, collecting waste absent poetic objects, like artistic and winning, as if the general confusion was not enough.
Pretending say what Chaplin left 100 years ago in "Modern Times"
The drawing and printmaking: Arts majors.
Silvina works with sensitivity and courage technique. Beyond figuration or abstraction through them.
Presence and absence. Series signifiers.
The palette (ink?) Silvina syntonic note, harmonious, strong but not strident.
Figuration implied increases, this line, the geometry of the planes, frames refer to the ancient looms, a chromatic coloring and involves the work as a distant glaze that accentuates the expression paradoxically.
The black and white drawing a storyline.
Retrieves the culture of effort and work that allows the joy of the result.
Planting and harvesting.
With religious spirit rejects contemporary hedonism.
Silvina series tells three of his trilogy: Look and think.
Not for me to say more about them. They are a challenge to reflection.

I would like to add a tribute to all recorders Silvina and a letter of dear little known Julio Cortázar, who published a book of engravings (Boni, Dorny, Marfaing, Matta, Piza, Saura, Tapies, Zañartu, Zarate) that entitled:

"Les Cahiers de l'espace" and its text, in turn is entitled "From truffle and topos"

TRUFFLE AND MOLES

The hand is more alone in the engraving on the drawing or painting.
More and more immediate one in this area
working as a plowman for whom the account
unless the contact between two materials
adversaries and accomplices at a time.

The gouge wielding fingers are on your own,
and what the eye create and articulate guide
often only worth as mere grammar.

I speak, of course, free engraving,
that the metal, wood and stone seem to imply and wish
accidents in its pure matter.

The anecdote, reproduction, applications are only
something specific drawing and painting
requested and carried to an extreme, for his part, recorded
tends to close these annals:
tactile intimacy is enough to project his own universe,
small drop of mercury
however where the cosmic serpent trembles.

Since no record, all this may be false,
but something tells me that writing. else burn against white
land of their 'about some
that territory where the visual is far from omnipotent.
Also the pen trace, and the writer knows
enjoyment of the slide in which everything is possible for ductile
per mole, per truffle, for water vein.

How many times have I begun or ended a sentence with your eyes closed.
Some recorder perhaps looked a fragment
of his work after having burilado. To correct,
course, we all have time and eyes.
Julio Cortazar

Finally, if I have not yet managed to bore you, I would say that someone said the title should be the metaphor to the summary of the poem.
I'd pick "Experiences of Slavery of the Body" and "The Other Reality", though the trilogy is a unit.
Silvina Baz works of art and passion for a better world.
FELIPE DIAZ USANDIVARAS Curator and art collector