In each of the scenes, the free forms produced by liquid represent a multitude of things. They can be deadly firearms, unforgiving bullets, lethal explosions, clouds of smoke and dust, or debris and shrapnel dispersing violently as aggressors hit and liquidate their targets. But mostly they bring to mind blood, of life flow spilling and draining out of bodies. Being rendered in bright colors, the harrowing effect of bloodbath images is diminished, reminiscent of how disturbing photographs of crime scenes are censored in media through the alteration of blood’s realistic color.
In presenting the dynamics of human aggression inspired by a game, Cerda once again baits the mind into reflections about warfare and recreation. A critique on how world leaders regard war as a game of sorts may underlie such creations, on one hand. On the other is a note, perhaps, of a wishful thinking that colorful and harmless liquids, instead of bombs and firearms, are the real-life weapons of war, saving humanity from all the fatalities it has for so long suffered and endured.