This piece consists of an explosion of stolen film and television images which, linked together, make up a vertiginous visual cascade that refers us to the concept of orgasm. This was the first work by Cerveró and it already displays some of his main later interests: the negotiations between reality and fiction, between the images that the director records on the outside with his camera and those that he captures “artificially”, out of pre-existing film material. In his work, he lays out the similarities between both strategies which in the end are both products of optical artifice, fictions that hardly touch the experience of life.

In its use of visual collage and recycling, Orgasmo is a good example of the possibilities of constructing a new reality out of the fragments taken from other material, a process which has been called Found Footage. Soon enough the spectator will realise that in the selection and montage of this material, are implicit the preferences of the author: to encapsulate objects and characters within flat compositions, to look for a certain suffocation in the shots, the flatness of the images, the peculiar colour range, an “ordered disorder” and his predilection for unexpected camera angles.

For this piece Cerveró revisits old visual material in order to create a new being. In the end, this new creature, sewn together with uneven pieces, only manages to emphasise what for the author is the act of filming itself: an animated cadaver.

All of Cerveró’s work, regardless of their final format, share a common search for an anti-form or an anti-style, which has become the artist’s signature feature. All the pieces show, with more or less intensity, his preoccupation for reconciling reality and fiction, creation and everyday life. He has worked numerous genres: documentary, video art, music videos, advertising, etc.

Within his latest works, the acclaimed new title sequence (since 2006) for the cultural programme Metrópolis in TVE2, stands out.