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After
over twenty years researching linocut, Sérgio de Moraes has
transposed
the ground of rigid and restricted techniques, and developed complexes
and flexible ones. Without disrupting the tradition, the linocut of
Sérgio de Moraes follows two main directions: he both engraves a
combination of different matrixes, and exercises multiple actions on a
single matrix, which is re-engraved after each printing.
Sérgio de Moraes goes in Picasso's direction by using a single
matrix
for the application of various colours, however, he might also follow
another route, and re-engrave and re-print a combination different
matrixes, which allows him for the achievement of different results
than those forecast by the current techniques, as those obtained by the
variation of the density of inks or by lessening of the sharpness of
the shapes. Thus, the linocut technically approaches painting, for it
is colourist in the effects obtained by the various impressions and
re-engravings of different colours, as well as by the multiple activity
of the paper, usually the interlining, which at the same time retains
and screens the ink broadening the range of colours and the density of
the matter even more.
Leon Kossovitch
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