Perán Erminy /
Art Critic
[Enigmas/ French Alliance 1992]

The method of those plastic experiences Rangel on the other, indicates, on the one hand the seriousness with which undertakes its work, and the order rationality with which it knows to extract lessons and it changes the order started off to him for the use from the expressive elements that, by their qualitative and non quantifiable character, are very difficult to control.


Miguel Von Dangel /
Artist Plastic
[Hearts Sagrados/ Museum Contemporary Art of Caracas Sofia Imber, Contemporary Art Gallery Tito Salas, Caracas Metro, Caracas 1996]

In the search of the Renaissance of the indispensable minimum human condition, the contemporary artist fluctuates between of seduction which they touch the last songs of siren of the technology and the market that demands such submission to him, and the subjection and the respect, the definition ethical codes to which it must. From which we bet to the truth of this artist, subject to the dialectical dilemma of its search and that with as much impetus and capacity of risk has assumed the load of so difficult confrontation.


Robert Guevara /
Art Critic
[Cardiographies / Puerto La Cruz 1996]

The iconography of the heart clears divine and the imaginary thing, good components for a young, full artist of questions and hallucinating by the visions. Sergio Rangel auscultation beyond the line of vision, fuses within himself contexts able to allow that personal necessity to give “graphis” to a fluctuating dimension, the heart. The beats go of the Divine Heart to the worldly one, of the visceral corporeity to the dynamics of the pulse, agreed to other rates of the plural life. Cardiographic: it is a way to enter the mystery (and the evidence) that beats within the artist.


Carmén Hernández Mardones
/ Critical Curator de Latin American Arte
[Encristao/ Room RG Celarg 2000]

Sergio Rangel recognizes that the image in itself does not own any power. It is the glance the one that as much attributes of communication or symbolic value to him in constructs exhibited to constant history’s changes partner, visible as much in the artistic forms of our time like the mink of the asylum. It is as well as it can think that its work also reaches Latin American, oscillating the modern subject between an imaginary hybrid and a model of productivity sustained in a series of norms that defined the good and the evil, the moral and the immoral thing, weakening all impulse of the symbol waste and material in favor of the economy that reach all the you order of the social life, especially, the body. In some of the poems of this creating the necessity to surpass the economy of the enjoyment that could be extended to the monk and the artistic thing:

I am incessant meat,

vulgar matter

I own glorification for my ego

mined determines and conditions in the cosmos,

but in the end

I end up rendering me to the erectile sensation

of clearly a dark sight through a skirt

© Rangel_1998 Between Skins|

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