MÁRCIO
DOCTORS
1987
"[...] Luiz Sérgio's painting is that: an absolute economy of means and a
maximum of visual intensity. The saturation of the graphite is what allows the punctuation
of the color. The field infinitely open of the graphite, for beyond the limits of the
chassis, is contained by the imposition of the small colored rectangles. There is an
expansion / contention process. The horizontality of the canvas exists in function of the
verticality of the small rectangles that it contains. It is from that game, with a minimum
of interference, that each element echoes. There is no need for form excesses. His
painting is enough in its subtileness, in its allusions, in its poetic susurrus. The
poetics of its space is the reduction of the pictorial language to a fundamental word: the
rectangle. And it is from there that all relationships are woven: drawing, form, and
color. There is no content - no sonority. As the characters of my childhood, in their
essential line. It is the world of full silence..."
|
|
Critique
FREDERICO MORAIS, 1996
"[...] Luiz Sérgio de Oliveira works in a close line
to the one of [Rubem] Ludolf. But while in the latter, color and form constitute a
rhythmic unit that leans in the bidimensionality of the surface, Luiz Sérgio works more
the space ambiguity, the dynamic relationship between background and surface. He
distributes strips, always black, on the white background, sometimes having between those
and this a color plane, a kind of false background. The irregular cutting of the strips,
as well as the asymmetric division of the background and of the internal surface help to
increase the space dynamics of his canvases, that have almost wall dimensions".
|