“Al l is alive, what we call
death is an abstraction”
David Bohm.


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 instant.

Edgar Correal