吉格·克魯斯

The work is in good condition overall. The canvas is clear and taut. There are indications of minor wear and handling around the edges of the canvas, however, the paint layers and impastos are well-preserved. Any indications of inconsistency are inherent to the artist's creative process. Framed.
"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."

吉格·克魯斯在《對岸煩囂》中探討療癒的概念。紛亂的線條與顏料一股腦蓋在尤斯·凡·克里夫的《聖母之死》上。克魯斯一次旅至德國，得知此荷蘭畫家作品，畫中眾人圍在聖母病榻旁，雖是沉重痛苦，凡·克里夫卻將之賦予鮮豔色彩。但克魯斯的版本灰濛暗淡，其中對細節的處理顯示出其抽象以外的功底。這幅《聖母之死》上蓋滿了螺旋形的線條，灰白肆虐，與溫暖橙黃形成對比。右上角一個鮮黃圓點連接白翅膀，如太陽般照耀萬物，庇佑生長。

左上方的黃色花瓶以紅、橙和綠線相繞，那是熱量、生命與療癒的顏色，上面又噴出橙色與藍色圓點。花瓶下微見聖母床鋪蓋幅，華布更是壓迫畫面。聖母處於一片抽象之間，環繞的藍白線條顯其神性靈氣。

克魯斯把自己患臆想症的經歷代入其中，不讓自己被精神狀況所困死，跨越成規。《對岸煩囂》的畫框便是創作的一部分，當地工匠精雕的木框經由藝術家將之造舊，似充滿歲月痕跡，也是新與舊的一個玩笑。顏料從畫布蔓延至畫框，左下方的橙色泡沫由藍線引導，與對面的橙色半圓相呼應。半圓以環環綠色帶到中心的抽象主體，鮮紅赤橙，滾滾如生命線。畫幅底端一朵花開至畫框，是滋潤大地重生後的一輪新生命。

《對岸煩囂》是克魯斯最新作品，既是其個人經歷，大家也盡能感應，令此作脫穎而出，觸目驚心而深邃的畫面再次肯定了他在菲律賓抽象表現主義中佼佼者的地位。