The work of Eduard Resbier is composed of three coales-cent forces in constant tension, in dialogue, in a state of production: Painting, Sound and Video. Each of these seems to shape the form of what the other seems to lack, like a supplemental element; each one works secretly in the formation of the other, unstably, as if through the power of constructive chance.

The work to be presented at the Salon d'art contempo-rain ART-O-RAMA 2012, is titled Cosmological Triptych, and is composed of the linear arrangement of a Painting measuring 2 x 1.30 meters and two video monitors, each of which will present a random sequence of images edited and produced by Resbier. These videos of random sequen-ces have been made from edited images of real landscapes filmed by the artist, which he has then altered through the use of simulations and graphic interventions, and intersected with a compositional soundtrack also of his own creation. In this sense, the work to be presented is in effect a cosmos produced by these coalescing forces in Eduard Reshier: Sound/Music Image/Painting Time/Move-ment.

Cosmological Triptych is a hybrid work in which the art object seems to be the formational availability of an environment: sound, image, reality and simulation all intertwine, blend together, in a temporal line in which the frozen time of painting is penetrated by the indeter-minate, chaotic continuity of the images in movement, by the time of experience. The Painting here is the start of a phrase, it is the constructive system that orders the space of chaos. The Painting here is the metaphysical threshold between the opaque, indistinguishable, aural, nameless reality that is configured, regulated, attended to, fissured by the order of the space that the painting represents. The Painting in the triptych here is the ma-trix, the law, time turned into measure and image. But this time is interrupted, fissured, returned to its non-coincidence in the arbitrary, in that calculated chance of the image in movement, by that ominous simulacrum that is its becoming. Here, video and sound, image and music occur without beginning or end, their constant becoming is an indeterminateness that breaks the symmetry of the Painting. Here is where the work is made into cosmology, an unpredictable environment that generates at different instances indifferent moments, stays, circumstances. There is no possibility of a single point of view in this work, because, given the impossibility of viewing the totality of the "cosmogony", the universe of the work is constantly being lost.

Cosmological Triptych is an affirmation of the opportunity of creation in the immaterial universe of becoming

Luis Guerra