To The Walls from the Wound of Oddities: Jigger Cruz

Cruz's art undoubtedly intrigues, the first contact with his approach is always particular, the viewer is often baffled by the composition of the works, due to the peculiar and unique workmanship that the artist has devised. It is a technique that exploits the thickness and materiality of oil, reinventing it and giving it, through an elaborate layering, an almost bas-relief- like effect. In his early works, Jigger Cruz always emphasised with importance the concept behind them, almost as if he wanted to express a revival of Filipino painting that overcame the relics left by Spanish colonialism. The latter in fact left a strong Christian and Classical/Baroque culture in the country. This was not a criticism of what happened with colonisation, it was rather the narration of a desire for a rebirth of art in the Philippines, unable to move towards an innovative, universal path, but rather anchored to its Hispanic roots.

Cruz, through his technique, succeeded in taking a very important step within the history of Filipino art: it was an overcoming of almost non-existent canons that harked back to a European past, but very different from the contemporary reality of the Philippines. Moreover, we can define Jigger as one of the main exponents of the new generation of Filipino artists with an abstract and informal matrix that has been established to date. It is interesting to consider how Cruz began his career by using representations inspired by Polish/ German figurative and landscape painting characterised by cold tones as the basis for his works. These early images were then completely covered, almost effaced by the addition of the oil elements of his own abstraction. The baroque frames themselves, which surrounded his bas- reliefs, were specifically sought after by the artist and were worked in such a way that they were almost destroyed, disfigured. The inspiration behind these paintings was completely overturned by Jigger's intervention, shifting the narrative towards a personification of his work and national identity. The intention referred to the gesture of opening up, tearing the work and bringing out from it the guts of the painting, which expand and lead to the birth of a new, authentic and purely Filipino aesthetic, characterised above all by dark, gloomy atmospheres, contrasted with a wide range of colours, chaotic and pop imagery. This can be interpreted as the artist's strong desire to change perspective on abstraction, proposing a unique direction within the Filipino and global art scene.

As of today, however, jigger Cruz's paintings are born directly with an abstract imprint through the superimposition of figures and elements rigorously formed by oil painting. This is a time- consuming procedure, especially for the stabilisation of the colour and the drying time of the oil in the various layers. In Cruz's new imagery, the forms and density of these elements are further concretised. They expand, take on increased thickness and volume, making the result of this process of dimensional overlapping similar to the genesis of a bas-relief. Just like the latter, the imprinted elements tend to emerge from the flat surface of the canvas, forming shadows, geometries and depths that recall the ancient technique. This development grants an intrinsic three-dimensionality to the abstract figures, allowing for a particularly elaborate perspective with a unique structure and texture. Think of the Ara Pacis Augustae and the floral element placed at its base. Underneath the narrative of the processions, we see a use of bas-relief motivated by a decorative rather than narrative intent, focusing mainly on the sinuous, symmetrical and dynamic curves of the sprouts ready to blossom, symbolising the peace achieved through Augustus' rule.

A similar movement and development is portrayed in the bas-relief works proposed by Jigger Cruz, being, in his case, abstract figures without any metaphorical connection. These elements have familiar characteristics, which are not precisely elaborated, being undefined forms with no specific figurative references. However, as a whole, they have their own narrative and, above all, a particular movement and gesture in the way they evolve on the canvas. Form is not limited to bi-dimensionality. The abstract narrative is given a third dimension that is exclusively fixed with oil, recalling the same principle with which bas-reliefs were created. It is not a sculpture, it would be improper to call it that; rather, it is an informal, expressionist painting, which strikes the viewer precisely because of its materiality (as well as the scent and perfume that the oil releases over time). The depictions are never singular, but multiple, overlapping each other almost as if they wanted to cover themselves and lay morbidly on the canvas. This frenzy at the moment of drafting comes to a halt, generating a contrast in the vision of the work: the elements lead one to think of frenetic movements, yet, precisely because of the intrinsic properties of a work, they are static, still, imprinted on the canvas. It is as if the shot of an explosion occurred on the painting, without it being fragmented, but rather presented in a clear and defined form.

This departure from his previous modus operandi indicates several very interesting aspects. The first is the desire to tell a new story, real and belonging to himself as well as to the Filipino people. As previously mentioned, Jigger is one of the main protagonists of Filipino art, a very young reality that was initially established thanks to artists of the very first generation such as Ronald Ventura, Annie Cabigting, Manuel Ocampo and Alfredo Esquillo (before them, there were singular appearances such as Fernando Zobel or Alfonso Ossorio).

We can therefore say that what he creates is no longer the moment of surpassing - from classical, Hispanic art to the art of the Filipino imagination - but the affirmation of this surpassing itself, of which Cruz is in his part a protagonist. All of this is happening at a time when his art is increasingly asserting itself worldwide, not confined only to his own nation. This is an indicator of great strength and uniqueness and not a merely local phenomenon. Jigger, through his own imagery, has made himself a universally recognised artist, competing with and exceeding the general level typical of 'Western' abstract art. He always retains an Asian imprint, with a playful appearance that can be traced back to the themes often dealt with on that continent and which have always been particularly fascinating. Another interesting aspect is the fact that the artist has managed to achieve a final synthesis. This 'Fine Tuning' represents perhaps the culmination of more than a decade of study. When great artists arrive at such an approach, it very often means that they are at a moment of great maturity and awareness of their work. The works are chaotic but in harmony, full of forms and evolutions but always well thought-out, perfectly calibrated in their explosiveness and altogether fascinating from a chromatic point of view, whichever is more heterogeneous or homogeneous. This is the culmination of a very long process of refinement.

“I love the experimentation, the accidents, the failure of doing something and didn't come up well...it's still beautiful”

For many artists it is taboo to experiment in a risky way by pushing towards something that is likely to turn out to be a failure (it is for all of us after all), but the strength of a great creative is especially hidden in those moments of experimentation and attempts that sooner or later lead to an emotional Eureka. By now we realise how culture - at the level of music, art, cinema - is becoming increasingly lazy, less challenging, favouring a commercial production over a more thoughtful and reflective one. Primo Marella wanted to bring Jigger to Europe and let him have his first exhibition there, precisely because right from the start he was able to understand this tumultuous fire that Jigger had inside. A creative challenge with himself that moved him forward by creating a universal language that could compete with the most important abstractionists of this era (even if the art world persists in looking at other latitudes).

This exhibition in a way celebrates just that. When we think of Jigger Cruz fifteen years ago and see what he is today, we find an artist who has evolved, tried, improved, refined and perfected his technique: he has become a master of what he composes. Through his own studio he has permeated a new artistic vision in his own country and challenged many immovable beliefs in the universal artistic language. His abstract oil bas-reliefs are the uniqueness and originality that was missing in the contemporary art scene.

However, Jigger remains a person who does not want to define himself as someone extremely complicated or overly thoughtful, he himself states that the evolution of his art has also come about through a change in thinking with regard to the composition and subsequent creation of his works:

“I just wanted to be this great artist. That was my aim. But the more I did it, the more personal, spiritual and emotional it became. I was attached to a romantic process, but I realized it’s not a profession. It’s a way of life. It’s like eating breakfast in the morning...”

“...My daughter is my inspiration because she doesn’t care too much. And I find it beautiful. While creating something, it makes her feel happy and fulfilled. That’s a feeling that I lost through time. I was a perfectionist. Things had to be difficult. And watching my daughter, I realized, ‘Why can’t I be like her?’ She finds enjoyment and happiness in making simple shapes.”

Cruz says he wants to regain that innocence: “No more competitions, no more angst, no more– honestly–hell. I just want to make an abstract painting.”

This 'simplicity' combined with less creative agony is perfectly reflected in his works. It is clear how they are lighter and more playful, but without ever lapsing or exaggerating into the banal or into banality (again, this brings us back to the subject of greater awareness of one's own abilities and art).
Perhaps Cruz has managed to achieve the freedom that every artist yearns for, or he has simply found a balance within himself, the fact remains that the step he has taken in recent years is a decisive stage that is often defined as fundamental within the career of an artist. The level over the years has never stopped rising. First he experimented, calibrating his creativity to the best of his ability, and then he established his language, his artistic expression.

Jigger Cruz's 'painting' is as innovative as it is immediate at first glance; it was the result of a sophisticated and tormented reflection that managed to arrive at a 'therefore', a synthesis of a high level. I like to define it as an element that was able to occupy an empty space, which was there for all to see, but which no one had ever considered.

The figurative element typical of classical bas-reliefs disappears and is totally replaced by a fluid and abstract representation, more modern and current. Cruz, unintentionally, generates a new concept of bas-relief painting, which later on will surely have further evolutions, including sculptural ones. These oil bas-reliefs of his are a unique idea within the panorama of abstract painting. In addition to the technique, one might say, that what makes Cruz's art great are the very special abstract compositions that the artist paints. The dimensional superimposition he creates sweeps through an imagery of shapes and colours that wish to move, expand and characterise each canvas through unique evolutions. These bas-reliefs no longer have a narrative function: the human, figurative element ceases to exist and is totally replaced. In short, his art is not only form but also substance, very definite, which has always evolved over the years to the content it is today.

And so, the deformed frames disappear, the 'classical' background elements cease to exist and what the viewer sees becomes solely and exclusively the true, real identity of the artist, the opulent and sensational imagery of Jigger Cruz!

- Daniele Marella