In the work of Sérgio Rabinovitz the drawing provokes, threatens, embraces, grips, bites, kisses, sweats, bleeds, wounds and heals. The drawing engraves and rivets in the skin the marks of passion. The color reveals itself like the entrails and blood of a body that rocks between the pain of dilaceration and the delights of pleasure. In Sérgio’s work there is no space for the timid, insecure gesture; there are no flowery decorations or unnecessary allegories. The gesture is virile, determined and secure. The artist dominates the scene just as a conductor imposes his rhythm on an orchestra. Each gesture reveals a rhythm, a pulsation. Each gesture is the rebirth of an image that imposes itself as definitive before the gaze of each spectator. There is, therefore, in each action of the artist a commitment to the generosity of art. In certain moments he seems to want to dialogue with Matisse and make of each picture a glorification of pleasure and a communion with life. Nevertheless, there still persists in the artist the delinquent soul, the discomfort and the restlessness, and the landscape lets itself be wounded by the vigor of the incisions that the artist imposes on it.
(Marcus de Lontra Costa)