The foundation  on which the artist Sergio Rizo builds  his career consists of a solid  learning.

In this,  he affirms the practice of a language as difficult as that of painting, constantly taking over drawing as a middle from working ideas or as a purpose in itself, incorporating concepts that modernity transmits as legacy. In immersions as much in abstraction as in figuration, he elaborates a personal and strong work, caring for singular questions, acting with the color and textures codes in his gestual paintings, or establishing organic, mechanical and anatomical images in his more recent work. The monumental tripythics Educação de Lúcifer which the artist Sérgio Rizo presents in this exposition, brings a narrative structure that can work autonomously, in each unit, or together. That reveals a tormented choreography where as almost human figure of a kind of cybernetic angel – a humanoid -, is apprehended and caught in heavy movements which point to a precipitation attracted by the force of terrestrial gravity. A strange machine with anatomical mechanisms, like  ribs bones and muscles, are coupled and incorporated to the figure, praising Moebius, in a limbo environment, a place suspended in a world without borders or limit, saturated in a damp air, neither clear, non obscure neither past, non present. Putting the classical aesthetics out of itself,  in as far as it subverts in rebutted tonalities, worked with rake and spatula, the figures receive a treatment in contours by a particular technique of drawing in charcoal with glue, and the whole trypythics leads the spectator’s look, vertiginously, downwards, where  the escape point of a perspective recomposes its unit, trimming its own fall. Expression of the low human instincts, the centaur (here in female representation), figures a woman half-animal-half-human that  gallop with her hairs-manes in movement and lets loose the demons;  a figure in fetal position, fractionated  by the movement, tongue loose, presages the beginning and beginning again of times. After the fall, the education propagated by Lúcifer is that of the trajectory that is done in life, of the human-instinct-animal to the human-machine-rational, in zig-zag, inside and outside, on the contrary and in right, as in a ribbon from another Moebius. Dissimulating other knots of images that can be unveiled in the details of the principal illustrations, one by one, like traps and seductions for the look, the artist insinuates that, for the human, above the earth  and breathing air, with their instincts geared to high and low, for the noble and the ignoble, this is the tracing that is given him to pass through, per omnia secula seculorum.