Repordedly, when sculptor David Rabinowitch moved from his native Canada to New York in 1972, he regularly visited Central Park. There he found a beech tree that moved him to draw, and to which he returned again and again. This marked the beginning of his continuing interest in exploring this motif.
The positive impression made by this exhibition results from the cumulative effect of seeing the artist make approach after approach to the same subject. Lines and volumes shift and are in flux. A pictorial and analytical intelligence makes itself evident in the interplay of perception and gestural marking that he has accomplished. Using a crayon of beeswax and charcoal that he devised for the purpose, he conjures up fragments of landscape in a way similar to the non-literal naturalism of Eastern calligraphy. This seems in stark contrast with the artist's sculptural output. But, in fact, both share an attention to sensual texture. Line and flat, sweeping planes dominate in these drawings; In the artist's sculpture, his interest has been the elaboration of fundamental geometric form and condensed mass.