Sylvia B. Corrêa

Plastic ways
            The watercolor is one of the most fascinating techniques and demands of the artist at least two essential virtues: a certain speed, due the water fluidity contact request a very different time from the other techniques for e.g. oil painting, and a know how to work with a certain improvisation dose, due the dialogue among the pigment, agglutinant and liquid that offers usually wonderful surprises that should be take advantage.
            In order to watercolor reach the best result there are several variables and the artist Sylvia B. Corrêa works each one in her manner, reaching at least three kinds of interesting results, each one inside one theme. But always integrated for the search of the composition and the domain of the color.
            Born in Ribeirão Preto - SP, in December 16th 1949, Sylvia has in her genetic code a familiar historical of artists and teachers. Her maternal grandfather, painter and poet, and her father, designer and illustrator, soon lead her to art and teaching track, ways that she follows until now in her Studio and teaching art as a volunteer for poor teenagers in a Centro Social Brooklin Paulista – SP. 
            The watercolor entered in her life professionally from 1992, and her masters were Fábio Cembranelli and Myra Nunes Piloto. She developed her own language from these lessons and other ones that she gained and established a relationship with the world where the watercolor is fundamental.
            Among the three ways above mentioned, the most well-known to her public is the one related to flowers. It can be orchids, tulips or other natural beings dominated by colors, Sylvia express on the paper the great observation power and control of her art. She attracts peculiar attention on her unrestrained manner to handle color white acting boldly a color that involves high level control and demand extremely care.
            A second way, lesser-known, but maybe the most instigating as creation of atmospheres, is the one related to interiors. In this case, the windows work as mysterious entrances of light, making possible the establishment of authentic states of spirit between what can be seen inside a closed room and what can be imagined from behind of the clarity that the window lets in.
            The same relation of what you can see and what you can imagine are present in the naked bodies series developed by the artist. The magnitude of the human creature in the universe, most of the time hostile, is intensely vivid in each image. They are self- assured figures, but, paradoxically, claming for help in their human consciences.
            The fineness and the technical accuracy of her flowers, the sensibility expressed in the execution of each internal scene and the mixture of the relaxation and tension in the naked bodies are paths that pointed Sylvia B. Corrêa competence to make in each new work a significant plastic conquest.

Oscar D'Ambrosio, journalist, master in Visual Arts for the Instituto de Artes (IA) of UNESP, campus of São Paulo and member of the Associação Internacional de Críticos de Arte (AICA – Brazil Section).