{"status":true,"msg":{"data":{"id":55526,"auction_id":107,"set_id":141,"lot_number":"13","artist":"Jigger Cruz (b. 1984)","title":"Untitled","starting_price":700000,"signed_dated":"signed and dated 2013 (lower right)","medium":"oil on canvas","size":"26\" x 30\" (66 cm x 76 cm)","property":null,"coa":null,"provenance":"PROVENANCE Acquired directly from the artist by the present owner","exhibited":null,"literature":null,"write_up":"

There is a method to the madness of Jigger Cruz’s erratic canvases. At first glance, it may seem an irreverent vandalism – thick streaks of paint cover the painting with no seeming meaning or method. It is as if Cruz picked up a tube and squeezed the entirety of it onto the canvas, haphazardly covering the piece. However, if one looks deeper, he is rewarded by Cruz’s sense of continuum as the viewer is guided through his process of defacing in favor of highlighting new methods.

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This 2013 piece is an example of Cruz’s transformative and reflexive work. The ingenuity of his works behind not in his canvas but outside of it – in particular, his frames. His pieces are more often than not framed and the frame itself is marked in one way or another. In this instance, the topmost part of his frame is bleeding red, spray painted bright and vivid and uncaring of its effect on the canvas itself. Red then gives way to pink before it trails off, leaving the viewer to see the overlapping layers of oil paint Cruz left in the middle of the canvas.

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There are two paintings at work in the oeuvre of Cruz. One is the classical painting used underneath, often covered to the point of near-obscurity as Cruz layers his second painting over it. There is an “outside” and an “inside” of a painting, and interestingly Cruz never separates the two realms. Instead, he juxtaposes them directly as he lays them one over the other. “In this way,” Benny Nemerofsky Ramsay in his 2015 essay A Mark from the Periphery, “the experience of looking at Cruz’s oeuvre is more like seeing the finished painting, the palette, and the paint-crusted studio wall all at once, collapsed into a single visual field.” (Hannah Valiente)

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