Extremely methodical and orderly in his approach, his work constitutes a continual overlapping of rereadings of the painterly phenomenon, with all its conventional and iconographic charge, at times from an ironic, critical or testimonial perspective, always leaving some point without resolution in order to put the acuity of the spectator to the test. […] All of Cerdà’s efforts are directed into elevating the real to the category of sign […] In the majority of these “suites” the presence of the picture within the picture is a constant, at times producing an effect of redundancy, as in the case of Goya’s Los fusilamientos del dos de mayo or his Maja desnuda, while in others it is more the ‘out of context’ situation that is highlighted and the counter posing of realities such as the urban and the rural in the case of Millet’s The Angelus. Pilar Parcerisas, 1986