Marina Cruz

This work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling around the edges of the painting. Examination under ultraviolet light reveals no evidence of restoration. Unframed, on a stretcher.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The ancient craft of lace-making is formed by the careful interweaving of threads. Memories, just like the openwork fabric, are made up of disparate impressions from our mental experiences. The more attention we give to a certain impression, the deeper it will be etched into our memories. Attention is selective just as the open holes in a lace are purposely left out. The negative space is integral to the whole design, just as the forgotten-thoughts are vital in shaping the way we perceive. The poetics of memory, in its many forms and variations, is a prevailing theme that Marina Cruz continues to investigate via her artistic practices. Depicting used items at their most candid and raw states, she is interested in the narratives surrounding these objects.

The present work, Memories Are Made Of Lace, is a continuation of Cruz’s attempt to conflate personal memories with representation. She sought to simultaneously present two appearances of the same thing: the dress that was once on the wearer’s body and how it appears from the outside. Cruz paints an abandoned red dress against a patterned textile. Barely comprehensible at first glance, the dress lies formlessly on a surface. Its precise location is concealed among the dizzying cowboy hats, belts, gloves and badges. Extricating the dress from its original source, the incongruous context entices the viewer to search for further clues. An uncanny existence permeates the dress—the fabric is still warm from the wearer’s body, while the heavy chiaroscuro effect recalls classical Spanish still life paintings. The dramatic folds in the dress suggest a chain of events that we are unable to find out.

Furthermore, the juxtaposition of a hand-stitched dress with a mass-produced textile emphasizes the duality that pervades the painting. Cruz refuses to restrict the dress to one definition. The dress becomes a fragment of a figure, reduced into a fold and dissolved into a mélange of harmonious colors. As we stare longer into the painting, we feel the trace of human aura slowly disappearing before us. Memories Are Made Of Lace demonstrates Marina Cruz’s intellectual propensity in opening up her subject matters to a confluence of narratives and meanings.