David Rabinowitch
Canada, 1943
David Rabinowitch's first works were Box Through Assemblages and Fluid Sheet Constructions (1963-1964), in which he studied the relations of planes and the surrounding space by joining long articulated sculptures, which he collected in a photo-documentary process, adding drawings and planimetric designs, which he used to lay out new works, taking those compound parts as a starting point. He is very interested in philosophy, for example, in Plato's distinction between the relative and the absolute, or the one Kant makes in The Critique of Pure Reason between a priori and a posteriori (in 1965, he made a diagram of the work in the context of the series ‘Gravitational Vehicles’). He studied David Hume's work in depth and especially Spinoza's Ethica, ordine geometrico demonstrata, where he found the idea that the polarities between interior and exterior, between mind and body, are diluted in an understanding of spirit and matter as ‘total aspects’. He has also taken an interest in Descartes and his criticism of idealism, which he extends as far as Cézanne, whom he takes to be the inventor of Constructivism. One of Rabinowitch's fundamental exhibitions is Double Conic Construction in Ten Masses (1970), in which he divides the metal surfaces of his sculptures, typically sets directly on the floor or ground. That segmentation makes clear the properties of anti-symmetry that he places in relation to, for example, Bach's melodies. It has been said that despite a formal resemblance to the Minimalists, his work transforms the fascination with the perceptive process and insists on access to knowledge. He uses geometric objects as symbols of our apprehension of idealities, as the best examples of a notion of the ‘totality of the universe’. His work, which is singularly elegant, explores optical changes. In the ‘Tyndale Constructions’ series (1982-1989), for example, he uses the light filtered by windows as a decisive ‘material’. As well as a considerable written output in which he expresses his deeply philosophical concerns, he has produced many drawings, since he believes that in the process of drawing and making annotations small experiments are performed and the properties of his sculptural compositions can be clarified.
Fernando Castro Flórez