Sydia Reyes’s artistic spirit is imbued with a broad vision of the world and of art. An artist by intuition, by sensitivity and talent, she explores the synchronicity between life and art, focusing on concerning issues in contemporary society. She strives for harmony in her esthetic proposals, which tend to reflect upon the creative process as an isomorphic relationship between what the artist wants to say and what is represented as a recognizable visual structure. She searches for ties and mediations between two powerful forces: the material aspect and the social aspect. Even though she uses urban references, she abandons the mechanical aspect that may imply paraphrasing or appropriating an image. The goal in doing so is to use the object’s most intrinsic meaning, which serves as the main basis for her work.
Without abandoning the study of art history and continuing to reflect upon the wonder of creation, she reviewed several decades of her work and redefined her three-dimensional approach in the early 2000s. She focused more on the conceptual aspect of her work without abandoning the material aspect of it. She experiments with materials such as foam rubber, resin, porcelain and stainless steel in Serie Bocas Urbanas (imagen). In 2007, for her works Series Pan Urbano and Hostia Urbana (imágenes), she used unconventional materials such as artificial bread made with flour and preservatives to prevent its deterioration. With Hostia Urbana she was invited to an exhibit organized at The National Museum Catholic Art and History as part of the Pope’s visit to New York. The concept of the work she sent to this exhibit was the current problematic situation in the Church, which is a new critical dimension expressed by the artist. Her most recent research is three-dimensional and is based on voluminous metallic lines through which she shapes the sculptural framework as if it were installations, or in sculptures that convey an evident geometry taking “spaces that are formed just like territories of remembrance of wiring or communication weavings, or is it the territory of the mind, I wonder?” It is the ongoing concern for the urban theme. Without detaching from the features of streets and roads, it is the electric wiring suspended over houses and buildings, the same lines of the sewers and bridges that are now traversing the urban space. In some cases, she uses sources of light, such as laser beams, with the intention of projecting optical lines from the installation creating luminous atmospheres that convey futuristic coordinates. Sydia is interested in what the spectator might ask him or herself, “What could this work be telling us?” Serie proyectos is a continuation of her ecological concerns, now with a poetic and optimistic approach that incorporates man into the sculptural landscape that she proposes. Whether it be a sculpture, an installation or a video-installation, Sydia Reyes inspires the spectator to reflect upon the urban, social, ecologic and human landscapes.