姜 傑駱

The work is in good condition overall, as is the canvas, which is clear and taut. There are indications of very minor wear and handling around the edges. The paint layers are stable and well-preserved. Under ultraviolet light inspection, there is no evidence of retouching. Unframed, on 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."

"A place where there isn’t any trouble… It’s not a place you can get to by a boat or a train. It’s far, far away. Behind the moon, beyond the rain,” says Dorothy Gale (Judy Garland) in a 1939 American musical fantasy film “The Wizard of Oz” based on L. Frank Baum’s 1900 children novel “The Wonderful Wizard of Oz.”

Whatever is ‘behind the moon, beyond the rain’ in Dorothy Gale’s aplomb amid a challenging circumstance that she and her friends went through is the thematic title of Jon Jaylo’s recent work “Bright Days Are Upon Us.”

Here, at first glance, Jaylo conjures up and captivates his audience with the buoyancy of his pictorial narrative through a young woman’s sublime smile. Self-effacing visage, bashful look, and loosened straight hair cascading down to her shoulders with ruffled sleeves – the artist perspicuously captured the soul and character of a contemporary Asian woman in his version of Dorothy Gale, cuddling an intelligent and amiable Toto, a green-eyed dog with monocle on its right eye.

Nestled on the left portion of Dorothy Gale’s head is a red butterfly ribbon. Three other vintage-key-bodied butterflies in bluish and greenish colors are perching at the lower portions of her hair. These butterfly elements symbolize a metamorphic transformation that has a strong significance to the cultural and religious Asian perspective of life and its struggle toward the transcendence.

Crammed at the backdrop of the painting in a theatrical fashion are other characters of The Wizard of Oz, i.e., the Cowardly Lion, the Scarecrow, and the Tin Woodman. In Baum’s novel, these characters represent human virtues yet each one lacks self-confidence. However, as the characters journeyed together through a harrowing condition, they were rewarded in the end with human qualities such as love, bravery, and intelligence.

In his own enculturative portrayal, Jaylo infuses Asian values of self-sacrifice, perseverance, resilience, friendship, and unity by designating eclectic symbolic representations to the theme and characters of Baum’s novel.

The Lotus, for instance, that grew on the Scarecrow’s head, symbolizes the gradual ascent of soul from egoism to altruism, from materialism to spiritual enlightenment. The human with lion head statue is allusive to the Chinese Shishi or “stone lion,” which symbolizes grandeur, strength, power, and bravery.

Dr. Jose Rizal’s novels the “Noli Me Tangere” and “El Filibusterismo”
under the mahogany table symbolize the struggle and liberation of the Philippines from the bondage of the Spaniards for almost 400 years toward independence, unity and patriotism. The Crane behind the table is a legendary bird based on Chinese belief as the prince of all feathered creatures, symbolizing strength and longevity of life.
All the characters in Baum’s novel and Jaylo’s own interpretation of their respective qualities become an amalgamated symbol of cultural and religious values to the Asian religio-cultural and socio-political landscape. Each Asian individual, in this manner, has an intrinsic role and contribution to the community and fellow human beings toward the highest good of the society.

To sum, the painting “Bright Days Are Upon Us “ is not only entrancing to the senses creating positive vibes to the audience, it appeals as well to the human psyche that ‘sacrifice, persistence and positive outlook in life,’ as the old maxim says, ‘is always rewarded with prosperity, peace, and harmony’ in the end.

– Danny Castillones Sillada, Multidisciplinary Artist, Philosopher and Critic