מתוך הספר שכתב דר’ גדעון עפרת על רקיע : " דוד רקיע - אותות " יצא לאור בשנת 2009 .
Dr. Gideon Ofrat wrote in the book "Signs"2009 :
The overall artistic progression of David Rakia, from his early steps in Jerusalem, up to the latest letters chapter could apparently be summarized in the three archetypal existential conditions – aesthetic, ethic and religious – as defined by the Danish philosopher Soren Kierkegaard in his 1843 works (Either/Or and Fear and Trembling). For it can be claimed that Rakia’s earliest paintings, the Jerusalem vistas, sought to bring to fruition the “aesthetic”. But as far back as his proletarian paintings of 1953 – 1957, the ethical filtered in, never to release its hold on Rakia’s work over the course of decades, not even when he drew in the sensuality of Eros nor when he rose up to get in touch with the religious in all of his symbolic and visionary paintings. But in the letter paintings of the new millennium, Rakia made the “leap of faith”, in Kierkegaard’s terms, from “the ethical state” to the “religious state”. Here he executed an irrational plunge of faith into the ocean of letters, while taking his leave of the rational formulations of symbolic sentences of one kind or another. It seemed that now, he and his work matched the following lines by Kierkegaard:
“After being immersed in the general, he now isolates himself as higher than the general. (…) Now, without circumventing this general, but by way thereof, the individual raises himself above the general, as he stands in absolute relationship to the absolute.”