• Black Instagram Icon
  • Facebook Basic Black

Life and art, art and life, are weaved together into diverse plastic languages of material, color and shape; that is my work shown in this site. 

 

My mainart work project is the deconstruction of images and their transformation from a two-dimensional to a spherical three-dimensional plane.

The title of the resulting works is “Semillas de espacio”/”Seeds of Space”: three-dimensional wrappings of both space and what is seen.  The object we thought we could grasp in a single glance is converted into the germ of multiple glances, none of which encompasses the whole.

 

Silvia Japkin Szulc. 

“...  I found myself attuned to Silvia's poetry, to her ethereal creatures, her spaces constructed to compress the air between parallel strips of paper previously prepared, in an explosion of print, with phrases from different authors...

She brought me some of these “seeds of space”, as she calls them, to Madrid.  From a huge bag like a portable museum, she took them out one by one as if by magic...    I was impressed with those delicate spherical creatures, part planet Earth, part seashell.   Balanced on their three fragile metal feet—because humour plays its part here, too—I saw them as sisters or cousins, or daughters perhaps... of other ethereal pieces created throughout the Twentieth Century...:  the little wire circus figures in Alexander Calder's mobiles –Silvia Japkin might well have set up a circus with what she was taking out of her bag that afternoon--, the webs and nets of the Venezualan Gego or of the  Argentinian León Ferrari, the “obres febles” of Antoni Llena...”            


Juan Manuel Bonet.

Former Director of Museo Reina Sofía.

“Silvia Japkin's seashells evoke marine fossils whose fine markings curl into spirals, concentric circles, ellipses... The intrinsic idea is inextricably linked to the artistic concept realized in the sculptures called “seeds of space”. Each piece is the result of a gradual crystallization of memory sediments which like deposits of nacre sculpt metaphors of condensed time.For Japkin these become “metaphors of the world”, or perhaps we should say “of her world”, as they come from the fragmentation and subsequent reconstruction of cultural symbols taken from poetry, music and architecture.”

 

Anna Adell.

Art Critic.