FROM THE ETREUM EDICT
“Al l is alive, what we call
death is an abstraction”
The creative process in Gilberto Cerón
has developed for many years in a circular way, that is, it
does not occur lineally, but is always involving his previous
encounters and successes with new focusing and resources that
his permanent investigation shows to him. More than a perspective,
his work let us see an orbital development in which the central
axis is his intuitive approximation to life as a magical principle
of the being love, desire, and as a fundamental counterbalance,
the inexorable time, death and destruction. The elements he
employs, apart from his poetic sensibility, are all those plastic
elements that respond to a better manifestation of the creative
intention and to his necessity of expressing himself, and are:
pottery, drawing, painting, carving, photography and sculpture,
elements which he uses with great ability to leave his track
on art, in his magic and surrealistic world. His labour is not
restricted to the traditional ways of manufacturing, but also
involves organic matter, remainders, and the newest in material
and industrial processes. His quality as an artist makes him
transform these elements to manifest himself.
Gilberto Cerón, when
outlining this installation “From the Etreum Edict”
takes into account the architectonic space that shelters it,
to transform it into a ritual place in which the death and life
rite is developed. Eros and Thanatos in an eternal dance, in
which one supports the other to give existence to the miracle
of universal creation.
A hanging trigon is presented as the initial
module which gives origin to the proposal. On its three sides,
a debate between the energies of the matter in conjunction with
the essential elements of formation, as a floating poem inside
one of them entitling the element “Wind Vane”. Then,
as the path of life, nine floating panels with images of the
energies of men women and vegetation, which constitutes “The
Paradise Trees” forming a labyrinth that convey to three
floating and spinning modules, each one with seven sides being
the central part of the proposal that has as an inspiration
basement the poems done by Orieta Lozano. The central one named
“The march of desire” shows elemental drawing lineaments
and performs which are the structures of the complex beings
that develop in its interior. The translucent support of the
canvas, painted on both sides, let the images influence mutually.
One of the sides of this heptagon is divided in two sections.
On one of these sections the image of a man and on the other
the woman constituting the entrance door to this penetrable
space. In the interior there is a luxuriant vegetation and in
the middle, a pendant with the “Tree of Life “.
Beside this module a similar one hangs entitled “The Lamb
of Death” where Tanatos execute his dance, incarnating
and dieying, leaving as evidence the track of his permanent
action. This is the most dynamic module for the pictoric execution
being shaped through tracks left by the inked body with strong
expressionist brush strokes.
The central pendant, axis of this environment
,presents photographs that forms a gestual rite of great strength
and expression which evocates a chamanic work. The transparency
of the cloth permits the audience perceive at the same time
the movement, the incarnation and the structure of the dancing
bodies while the module spins in the surroundings.
The third of these spinning heptagons is called
“The Passion Ground “ where the universe machine
in our surroundings, is presented as a great clock that does
not only rule time, but is the creation stage of existence influed
by the energy of the mechanisms and the magic of the constellations,
producing a great universal symphony.
Digital photographs complete this installation
on the walls, with self portraits where he evocates chamanic
moments and constitutes the officiating of the ceremony. As
a support image there is a hand, the artist’s left hand
which is the icon of his identification. Hand that as a manifestation
of the brain’s right hemisphere represents creativity.
It is stigmatized in the middle by an eye that sometimes is
repeated on the fingertips auscultating the original chaos,
perceiving the myths and rites of what was created. These digital
photographs are conscientiously constructed to achieve the required
images, melting, duplicating, interpolating, applying colors
and textures to confere the necessary strength and effectiveness
to make them convincing. The photographic material is managed
in a pictoric way, and presents as a result, the ritual sequence.
The engine of this ceremony is the audience,
for while penetrating in the modules and moving in the middle
of the canvas giving them the spinning movement being an accomplice
while integrating with the dance.
This work, because of its outlining and structure,
goes further from what is static and prescribed, creating a
feeling of a constant movement. The arquitectonic space changes
into a temple where the universal creation process ceremony
is constantly realized and time is manifested as the eternal