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and that he seeks precipitate them further the reality, in the ecstasy of his language, even so is an end in itself.
Does not look for justify a plastic world, but rather to explain the possibilities that fully integrate own images.
It is approaching a man and a work that have consolidated languages. And that obtained in a manner such
absolute follow an imperative need to exteriorize the complexity of the existence through pulses and reflec-
tions that, on one hand, lead him to build in
crowds
abstraction loaded with graphics, with geometry majorly
marked which shows synthetically with regard to sculpture. On the other hand, is the flat figuration, in the
‘60s, with that he sought, in a revolutionary way, expressiveness in the use and incorporation of objects and
conceptual elements and now he creates in a more expressive painting.
The viewpoint of Gerchman is always the same: it is a look of
voyeur
, of a distant witness, who observes cro-
wds from far and couples near. Like a witness who observes from social behaviors to others’ intimacy. This
point of view, in certain moments of distant complicity, is that who gives to his couples a special eroticism
laden of seduction.
On the other hand are the elements of everyday life, the possibility that the word, or poetry of a found object,
speaks of the human condition. Interest to him the symbol and the fetish. From social subjects, he starts to
build new urban references. Enters and leaves from the urban social to the sociological, from anthropological
signs to philosophical relations, without ever losing the sagacity that involves living suddenly between the
frenzy of an era of radical changes, parallel stories, human freedoms and hellish constraints. The life convul-
sed of man follows trails for a time that passed through the existential crisis of the ‘60s, by the devastation
of man in their physical environment in the ‘70s, through the abyss of ‘80s and by the arbitrariness of end-
-century of these ‘90s.
This consistent “point of view” that Gerchman adopted, has a cinematograph parallel in which Alfred
Hitchcock formulated in his film
Rear Window
. From the window of his sensitivity, Gerchman has been
attentive to the reality to which he belongs. It has interpreted an iconography of some Brazilian symbols,
collected characteristic traits, assuming, as corresponds to any artist, a critical attitude against conjuncture
moments of a complex society. We could say that his proposal is closely linked to a sociology that his
central concern continually is revising social situations. “
All human life is invention, production of forms; all
entire human industriousness, both the moral field, the thought and art, give way to forms, finished organic
creations, endowed with purview and a self-autonomy: are shapes produced by human labor both in theoretical
constructions and daily institutions and findings of technique, as well as in a painting and a poem
”, observes
Umberto Eco. And so it is what Gerchman finds valuable never leaves from his gaze. The urban has, therefore,
many facets. The socio-individual is determined by situations that reflect themselves in spatial and temporal
relations majorly determined. A conflict that has being formulated in an anarchic space, with a constructive
attitude very tagged and synthetic geometry. Moreover, a critical attitude or sensory that he solves within a
neo-expressionist figuration; and his commitment to the Nova Objetividade, in the dilapidation of objects
ranging from values in a historical process and the recovery of the word as a harmonious and sublime shape.
For him, the word is poetry. Extremes that are part of the same line, which are aspects of a same reality,
instances that lead him to recognize himself in that fundamental mirror, which is that of existence.
The Beginning of Duality
Rubens Gerchman is an artist who always knew his destiny. With the imagination united from the begin-
ning, to his artistic possibilities, pursued in practice, the development of a latent sensitivity. His parents come
from the Ukrainian Russia. His family world was impregnated with artistic surroundings because his father,