Lot description
15th Station of the Cross signed and dated 1969 (lower right) oil on canvas 55" x 98 3/4" (140 cm x 251 cm) PROVENANCE Private collection, USA LITERATURE Yuson, Krip. Revelations: A Jaime de Guzman Retrospective. Published on the occassion of the exhibition of the same title at the Cultural Center of the Philippines on 4 March to 10 May 2015. Manila: Cultural Center of the Philippines, 2015. Black-and-white illustration on page 31. A testament to the artist's magnificent yet haunting, psychologically charged works in Postwar Philippine Art, Jaime De Guzman demonstrates the country's sociopolitical turmoil of the late 1960s. Through his reimpression of the religious narrative of the Stations of the Cross, he juxtaposes what is supposed to be a glorious resurrection with a dystopic and anguished representation. Rooted to the 15th station of the cross, later added in modern liturgy to symbolize redemption and hope beyond death, De Guzman twists the supposed celebratory station into a dark and painful imagery by presenting a composition dominated by elongated and distorted human tones. Executed with deliberate precision, his central figure—a "resurrecting" figure—rises with its arms outstretched, echoing the crucifix form of Christ. Each side produces a figure with a morbid appearance that mirrors the central figure's painful composition, while the background forms a dystopian environment with turbulent skies and fragmented architecture. Highlighting the destruction and chaos that breeds such torment and a disarray for humanity. Reimagining his profound psychological allegory through the lens of the sacred religious theme, De Guzman had managed to create a masterpiece that existentially reflects on the theme of suffering, faith, the human condition, and redemption. It visualizes the people's attempt to rise after immense suffering as the world screams of universal emotions like despair, loss, and a need for salvation. These emotions are caused by the disillusionment of the post-war Philippines, where ideals of redemption are overshadowed by oppression and social decay. A work of true conviction, this masterpiece cements Jaime De Guzman's place within the canon of Philippine contemporary art. (Mark John Castañeda)
