Regina Silva Silveira (born 1939) is a Brazilian artist known for her work with light, shadows and distortions exploring ideas of reality.

Occupying a teaching position in the same institution, she developed a sculpture and painting practice under the tutelage of Iberê Camargo, Francisco Stockinger and Marcelo Grassmann.

Her artistic terminology contains different modes of representation in perspective, which circumscribe Skiagraphia (it is the study of shadows) and obtaining them from common objects to create duality and tension.

[7] Silveira established herself as an artist during under the military dictatorship in the 1970s, creating ephemeral conceptual works such as videos, pamphlets and mail art.

[2] In the 1980s she begins working with skiagraphia (shadow art) in installations, creating "a disorienting experience that highlights the space between presence and absence".

The work, two silhouettes of two of Marcel Duchamp's "readymades" filled the room with shadows in deformed perspectives missing the source of the objects with empty pedestals.

Silveira's visual vocabulary explores the Simulacros between absence and presence using shadows, footprints, and tire tracks.

[8] She likes how shadows are intangible and therefore are in nature a very moldable part of her work that can be intentionally distorted and allow a certain image to only be viewed when looked at from a unique angle.

Silveira took an entire glass-building and she placed a vinyl lightbulb on the façade which was dark during the day, but had the ability to light up at night.

She also utilized blue glass additions which caused the building to have a very different look than its original style, and it also managed to cast shadows and patterns onto the floor which was exactly what Regina Silveira wanted.

The paw prints appear as though they begin on the floor in amorphous shapes and lead onto the walls as if an animal were actually running around the room.

Silveira took latex and using dotted lines, she outlined an artist's easel holding a piece of canvas, with a stool by its side.

The easel and the stool extend from the floor (the picture of the piece makes it appear that it may be from the door or from the point of view representing the feet of the viewer) up onto the walls and towards the ceiling.