吉格·克魯斯

The work is in good condition overall, as is the canvas, which is clear and taut. There are indications of light wear and handling around the edges. Under ultraviolet light inspection, there is no evidence of retouching. 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."

Superimposing fluorescent lines vigorously atop a meticulously executed painting in the French Baroque manner, the artist Jigger Cruz sought to erase the imposed boundaries that separated art into disparate categories. In A Pause in the Triumph of Existence, Cruz shows us the infinite possibility of the creative process. Liberating his canvas from preconceived ideas and styles, Cruz literally collapses the figurative with the abstract and the classic with the contemporary, making visible the dichotomy between the hierarchical oppositions. This double movement of simultaneous affirmation and undoing reveals the tensions and contradictions inherent to fundamental conceptual distinctions.

Concealed underneath the riveting streams of colors is the seventeenth century self-portrait of Pierre Mignard. A court painter to Louis XIV, Mignard’s painting is a depiction of him sketching at his room while staring intently at the viewer. His gaze momentarily unfixes the viewer’s identity as both the subject matter of his sketch and the admirer of his painting. Mignard’s confidence as a serious artist is reflected by the earnest expression on his face and the ease of his pose. Extending a leg out to support his posture, Mignard’s silk robe drapes comfortably on his body. Cruz, however, deliberately masks the upper portion of Mignard with a blanket of thick textural fluorescent paints. A rush of colors explodes across the canvas, reaching to both ends of the frame before the pigments trickle down to threads of green and blue to reveal the classical painting beneath. Hiding the most significant elements of Mignard’s self-portrait, Cruz erases any inherent meaning to the base painting, setting his final product free from definitive narrative.

A master of classical painting techniques and a voracious reader of modern and contemporary philosophies, Cruz’s art opens up a permeable discursive space. Like a stream of consciousness, the immensely tactile and gestural quality is a tangible reminder of the artist’s hand and soul. A Pause in the Triumph of Existence is a physical translation of the life force that flows within each human being.