São Paulo, Brazil, 1953

Sérgio Fingermann's familiarity with engraving techniques appears not only in his extensive production on paper, but also in his interest in the textures, marks and spellings of his paintings. It is interesting to notice Fingermann reveals on the canvas his gestural vocabulary of engraver, with the line that seems more carved than painted, and which, in some paintings of the 1990s, leaves a trail of rust, which the artist obtains by mixing iron oxide with ink.

Knowing his career as an engraver, it is inevitable to read a painting like Suite Construtora 8 from the idea of plate juxtaposition. As if it came out of a press, the painting superimposes cut and hatched planes, revealing yet another striking feature of Sérgio Fingermann's works, which is the reference to the history of art. The works in the Suite Constructive series refer to cubist collages and the chromatic economy of synthetic cubism. The sinuous shapes do not escape a connection with musical instruments and from there to the tables of Parisian cafes the step is spontaneous, as corroborated by the reference to a chair in Scaffolding that builds dreaming 2. Fingermann thus achieves interesting games between geometric abstraction and figuration , between engraving and painting, between musicality and visual art.