Paral·lelisme Cos de dona dins l'art, 1979

Botticelli, Vermeer, Ingres... Jordi Cerdà employs iconic images of female nudes in the history of art to designate the different parts of a woman’s body: face, back, vulva, and so on. These physical features are referenced by painted images with a clear cultural connotation. Self-referentiality is clear, as well as the designative relationship of painting with the subject it seeks to depict, in this case the body. This photographic project must be framed within the various series Cerdà produced from 1975 to 1980, which explore the representative capacity of language and image, in this case of a pictorial nature. It is as if, in contact with the real, physical body of a woman, painting might reveal its nominative character.