Reviews |
'... are practically acoustic graphs, in which it remains registered the pulsation of the performer on the string of the instrument inasmuch as the movement of the air on spreading the sound... Hellenic masks appear producing voice, used here to tackle the dimension time: the masks - marble are associated with the sculpture and theater of the Classical Greece, (...) are replete with angular lines that climb in the shape of cathedral-like organ (...)extructurales describing the kinetics of the air in the tubular heights.
Also we can tell pronounced interest for for the structural procedures of the music: the phenomenon of increasing accumulation of sounds to ascend to a crackling end we find here in a geometric, suggestive solution due its construction (...) what reveals to us a narrow tie entail with the ART DECO, and more specially with its architecture (...) reason by which its character hieratic and severe is also accentuated; nevertheless, this sense breaks partially, so the calligraphy of the drawing changes perceptibly in the contiguous spaces, so creating an assertive right balance.
... These works show up a multitude of possible trajectories, bulging of the junction of both disciplines. The closeness of its codes generates unexpected associations and discovers completely unheard-of relations.'
Alfredo Gomez, composer
'... Miguel Cerejido, chooses to catch bars, rhythms and planes of the musical space, using of harmonious images that do not conceal the integrated imprints of the geometric abstract thing and the unformalism, the painting of the sign and clear synesthetics quests (...) the handling of dimensions that internalize the spatial sense (...) of definite drawing and texturing on chromatic planes, in which casts virtuosity and meticulous order (...) impulse of the controlled craft by linear figures, which interpret formative elements of the tone (...) there are tessitures of the beauty and pleasant things, which also today are - and they will be - legitimate options of diversity that enrich the artistic production.'
Manuel Lopez Oliva, artist
Also we can tell pronounced interest for for the structural procedures of the music: the phenomenon of increasing accumulation of sounds to ascend to a crackling end we find here in a geometric, suggestive solution due its construction (...) what reveals to us a narrow tie entail with the ART DECO, and more specially with its architecture (...) reason by which its character hieratic and severe is also accentuated; nevertheless, this sense breaks partially, so the calligraphy of the drawing changes perceptibly in the contiguous spaces, so creating an assertive right balance.
... These works show up a multitude of possible trajectories, bulging of the junction of both disciplines. The closeness of its codes generates unexpected associations and discovers completely unheard-of relations.'
Alfredo Gomez, composer
'... Miguel Cerejido, chooses to catch bars, rhythms and planes of the musical space, using of harmonious images that do not conceal the integrated imprints of the geometric abstract thing and the unformalism, the painting of the sign and clear synesthetics quests (...) the handling of dimensions that internalize the spatial sense (...) of definite drawing and texturing on chromatic planes, in which casts virtuosity and meticulous order (...) impulse of the controlled craft by linear figures, which interpret formative elements of the tone (...) there are tessitures of the beauty and pleasant things, which also today are - and they will be - legitimate options of diversity that enrich the artistic production.'
Manuel Lopez Oliva, artist