|Biography from Sotheby's Hong Kong:|
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Marina Cruz's return to painting brings a new sequence to her investigation of remembrance and meaning. The
objects in them form a kind of portraiture: she for example composes the dress then arranges them as one would normally a sitter.
She transforms the thing (the actual dress) into an object (the painting of the dress), but retains the referencing and
hinting to some fifty years past of back story.
From treasured heirlooms that serve as Cruz's well of inspiration; a focus characteristic blooms and from there begins
diffusing the mystique upon her now orphaned objects. She dwells on the surviving artifact and leaves little trace of
narrative in her portrayed "sitters," for she paints essence rather than likeness, to a point that one need not attach a
face to the garment. Crucial is her capability to inflict a transferred imagination upon each subject, concentrating on
the depiction of a mood, of an absence or presence, rather than mere illustration.
The unsettling nature of Marina
Cruz's images is further emphasized by a shift in palette from the dark tones of her previous work, where saturated
blues and pinks and browns now serve to a nostalgic effect.
The artist presents her exploration between life and after life of these objects. While uncovering their significance, the
painting process like one's recollection is often faintly trailed.
Advancing a recognized lexis of portraiture, Marina Cruz
has taken in her embroidered footnotes as part and parcel rather than contained merely in the catalog as supplement.
Aside from this, Duplicity is a theme that abounds her oeuvres. The outer and inner sides of the dress are reference to the meaning that is seen by
another and what is actually felt by the wearer. These are mere points of departure rather than the actual subject.
Perhaps most importantly is the betrayal of the source by its meaning as soon as it is transformed to a painting.
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