Jigger Cruz Paintings & Artwork for Sale | Jigger Cruz Art Value Price Guide

Feb. 22, 2025
Jigger Cruz (b. 1984) - Trinitarian Formula: Great Corners Through the Eyes of the Moths
Est: ₱2,600,000 - ₱3,380,000
Jigger Cruz (b. 1984) Trinitarian Formula: Great Corners Through the Eyes of the Moths signed and dated across three parts, i) 'JI', ii) 'GG', iii) 'ER 15' (lower right) each panel oil and spray paint on canvas, in artist's frame with nails 31 1/2" x 25 1/2" (80 cm x 65 cm) each Provenance: Phillips, Modern & Contemporary Art: Online Auction, London, 26 November - 5 December 2024, Lot 54. Acquired from the above by the present owner. Literature: Primo Marella Gallery, Jigger Cruz: Beautiful Anarchy, Milan, 11 March-3 April 2015 Jigger Cruz and the Power of Three by Hannah Valiente There is something fascinating about the works of contemporary artist Jigger Cruz. Tactile and effusive, Cruz approaches his work with something that could only be described as a “calculated defacement” as he slashes, burns, and piles his way into a work he is creating, often over a classically made piece Cruz either acquired or replicated. As such, he juxtaposes two worlds – the traditional world and the chaotic mess he overlays onto it. His Trinitarian Formula: Great Corners Through the Eyes of the Moths takes Cruz’s usual concept and puts it onto a bigger and wider canvas. A story done in three parts, Cruz’s stream-of-consciousness scribbles travel across three canvases, their trails disconnected but evident as they cover up the paintings done underneath his scribbles. Once a canvas boasting of classical paintings, one can no longer recognize the image beneath though they know that the image was there. The edges of the frames are pockmarked with holes as though riddled with bullets or eaten away by moths and mites. In the Christian doctrine, the Trinity refers to the nature of God as the Father, God as the Son, and God as the Holy Spirit, three distinct persons sharing one essence. As is with the Trinity’s oneness despite its distinctive personalities and separate roles in the heavenly and worldly realms, Cruz’s Trinitarian Formula is viewed as one bonded through three separate beings. As though proving that, one singular line of red paint travels from the leftmost painting toward the rightmost piece before it fizzles out into the background. The works of Jigger Cruz evoke such a visceral and vital reaction through their ‘defacement’ of classical pieces, whether it be through his historical or religious pieces. Though his thick, impasto scribbles cover the painting underneath, one cannot help but reconstruct the hidden image beneath, a testament to how deep the traditions of Western traditional painting run even in a country across the world. “One need not be born into a European or Americal cultural setting to be amply exposed to the contours and obsession of the Western aesthetic discourse,” wrote Nemerofsky Ramsay. The works behind Cruz’s Trinitarian Formula are barely recognizable and yet, one cannot help but try to decipher it. Perhaps one could see the winding dirt road Christ traveled himself or the summit of a mountain similar to that in Gethsemane. No matter how thick Cruz’s scribbles may be, even just a glimpse of the painting behind sends its viewers into overdrive as they try to identify it. With Trinitarian Formula, Cruz speaks of the inevitability and permanence of religion within Philippine culture, easily identified despite being under a ton of distractions and redirections. Cruz’s works put into the forefront both the state of the world as he sees it and the ambiguous questions and answers he brought up. “There is a captivating ambiguity as to whether his interventions bring us closer to the truth…or if they take us further away,” Nemerofsky Ramsay said. Indeed, his works bring up a mirage of both conceptual and theoretical questionings as discourses of religion, history, and art take center stage. The language of graffiti and vandalism is brought into the mainstream, framing Cruz’s historical and cultural prodding in a different light and making Cruz’s oeuvre one of the most intellectually stimulating in Philippine art history. (Hannah Valiente)
Leon Gallery
Feb. 22, 2025
Jigger Cruz (b. 1984) - Untitled
Est: ₱1,600,000 - ₱2,080,000
Jigger Cruz (b. 1984) Untitled signed and dated 2015 (lower left) oil on canvas 39" x 48 1/2" (99 cm x 123 cm) Provenance: Acquired directly from the artist by the present owner The works of Jigger Cruz exist on two different planes. On top and the most obvious is his demarcation. Various layers of paint, some seemingly squeezed straight out of the tube, cover the canvas. It is a three-dimensional element added to the picture, a sensation done by none other. This layer is the dominant one, the one viewers almost always see first and foremost. However, look closely and one might see it is only a mask – a fantastic mask but a mask nonetheless. Beneath the paint and patterns is a painting done in the classical method. Though the viewer cannot fully see it, their eyes and their mind could fill in the blanks. This piece echoes that classic Cruz painting, even down to the dilapidated and torn frame. Taking up the majority of the space are overlapping layers of paint streaks squeezed directly from the tube, all in different colors and sizes. Squiggly lines, circles, swooping curves, and even scrapes of oil paint cover the painting but the artwork beneath is recognizable even if it isn’t fully shown. In shades of lovely blues and cool greens, one can discern a skyline and, at the bottom of the canvas, a peaceful sea, its current soft and serene. Perhaps the effects of Cruz’s works is this quote from Benny Nemerofsky Ramsay in his 2015 essay A Mark from the Periphery: “Faced with the layers of paint and meaning that tremor and undulate in Cruz’s works, the spectator is invited to question which parts of the painting are above, and which are below.” That is how Cruz creates lasting and impactful works – by conflating the eyes and the mind of what is vandalism and what is art. Is it the literal scribbles on top of a painting or is the painting below? How come the Western art style encroaches even the furthest corner of the world, so much so that one finds it even in the barest of places? The meaning-making of Cruz’s canvas is both conceptual and physical – decidedly performative in his art, Cruz creates “loud” paintings, both in the aggressive and full-bodied way he makes them and the message it carries. Even then, the duality of his paintings prevails as he creates a veritable feast for the eyes and the mind.
Leon Gallery
Feb. 22, 2025
Jigger Cruz (b. 1984) - Untitled
Est: ₱700,000 - ₱910,000
Jigger Cruz (b. 1984) Untitled signed and dated 2013 (lower right) oil on canvas 26" x 30" (66 cm x 76 cm) Provenance: Acquired directly from the artist by the present owner 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. 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. 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)
Leon Gallery
Feb. 06, 2025
JIGGER CRUZ, UNTITLED 2016,
Est: $400 - $600
JIGGER CRUZ, UNTITLED 2016, LITHOGRAPH ED. P/P, SIGNED AND DATED LOWER RIGHT, 54 X 63.5CM (SHEET) UNFRAMED
Leonard Joel
Jan. 25, 2025
LOT WITHDRAWN
Est: ₱350,000 - ₱455,000
LOT WITHDRAWN
Leon Gallery
Nov. 30, 2024
Jigger Cruz (b. 1984) - Sudden Flesh in a Fountain of Blues
Est: ₱1,600,000 - ₱2,080,000
Sudden Flesh in a Fountain of Blues signed and dated 2013 (lower right) oil on canvas without frame: 22" x 36" (56 cm x 91 cm) with frame: 32 1/2" x 44 1/2" (83 cm x 113 cm) PROVENANCE: León Gallery, The Magnificent September Auction 2013, Makati City, 28 September 2013, Lot 137 *THIS LOT IS SOLD TO BENEFIT THE INTERNATIONAL SCHOOL MANILA Internationally known abstract expressionist Jigger Cruz’ most desirable and rare paintings are his early works where he paints a figurative image on his canvas, then purposefully overpaints and obscures the figure until it is totally recessed into the background of the painting. This is his most original and signature style. This painting is from Jigger’s golden year of 2013 when within a short period of two years, Jigger stormed the international art world and collectors worldwide clamored for his highly original works. His works were shown in galleries and art fairs from Hong Kong to Berlin to Venice to New York and Los Angeles. This painting, which was purchased by a well known international collector at Leon Gallery in 2013, and has stayed in the same collection for the past 10 years, set the trajectory for the sudden global meteoric rise of Jigger. It was the first Jigger painting to sell for over a million pesos, and it set the pace for the next Jigger work to sell at Sotheby's Hong Kong a month later for 8 million pesos. This is a work coveted by major museums in the US. It is now being sold for the benefit of the Scholars Fund of the International School Manila.
Leon Gallery
Jul. 27, 2024
Jigger Cruz (b. 1984)
Est: ₱400,000 - ₱520,000
Untitled signed and dated 2013 (lower right) oil on paper 27" x 19 1/2" (69 cm x 50 cm) Leon Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE Finale Art File
Leon Gallery
Apr. 20, 2024
Jigger Cruz (b. 1984)
Est: ₱350,000 - ₱455,000
Untitled signed and dated 2022 (lower right) oil on paper 41.14" x 33.27" (104.5 cm x 84.5 cm) (frame included) Accompanied by a certificate issued by The Drawing Room and signed by the artist confirming the authenticity of this lot
Leon Gallery
Apr. 20, 2024
Jigger Cruz (b. 1984)
Est: ₱350,000 - ₱455,000
Untitled signed and dated 2013 (lower right) oil on paper 27" x 19 1/2" (69 cm x 50 cm) Leon Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE Finale Art File
Leon Gallery
Mar. 09, 2024
Jigger Cruz (b. 1984) - Untitled
Est: ₱1,800,000 - ₱2,340,000
Untitled signed and dated 2023 (lower left) oil on canvas 44" x 31 1/2" (112 cm x 80 cm) WRITE UP: Jigger Cruz stands as a prominent Filipino artist, celebrated globally for his immersive and sensory-rich artworks. Employing innovative methods like impasto, cutting, burning, and paint spraying onto both canvas and frames, Cruz's paintings delve into the intrinsic material aspects of the artistic medium. In this work Cruz seemingly explores the definition and limitations of the medium of painting through an arguably contemporary and guided process. Through his aforementioned use of technique, Cruz forces the audience to see globs of paint as parts of a unified whole. A concept that is not too far removed from what traditional painting is, but something that is arguably contemporary at its core. Simultaneously, his subject matter spans a spectrum from the weight of historical narratives to religious themes, effectively engaging with social and political issues prevalent in contemporary Philippines. (Jed Daya)
Leon Gallery
Jan. 20, 2024
Jigger Cruz (b. 1984) Pablo Bermudez Isabel Santos
Est: ₱50,000 - ₱65,000
Enjoy Yourself 2017 mixed media 25" x 20 1/2" (64 cm x 52 cm) Accompanied by a certificate issued by West Gallery and signed by the artist confirming the authenticity of this lot
Leon Gallery
Jan. 20, 2024
Jigger Cruz (b. 1984)
Est: ₱300,000 - ₱390,000
Untitled oil on canvas 15 1/2" x 11 1/2" (39 cm x 29 cm)
Leon Gallery
Dec. 02, 2023
Jigger Cruz (b. 1984) - Untitled
Est: ₱1,000,000 - ₱1,300,000
Untitled signed and dated 2019 (lower right) oil on canvas 37” x 27” (94 cm x 69 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE: Acquired directly from the artist WRITE UPJigger Cruz’s art is a mesmerizing blend of catharsis and control, captivating viewers with its uniqueness and emotional depth. At the heart of his work is an exploration of contemporary painting that harks back to the primitive memory of figurative forms. Cruz masterfully reinterprets the formal elements and stylistic quirks of classical painting, closely adhering to their foundational composition and meticulously approximating their techniques. In his artistic process, paint finds its way onto the canvas in a spontaneous fashion, with splatters, smears, and drips coming together to create a dynamic visual symphony. The essence of his creative quest revolves around allowing the unfolding of these spontaneous events on the canvas, only to regain control and shape them into a language that is entirely his own. The results are a mesmerizing interplay of flowing organic forms, vibrant colors boldly emerging straight from the tube, and palpable energies that seem to breathe life into the artwork. But this isn’t just about the act of painting itself; Cruz takes his pursuit further by treating a painting as an installation. The canvas stretcher bars are exposed, unveiling all aspects and surfaces involved in the art-making process. His emphasis shifts from the final artistic object to the very process of creating it, providing viewers with a window into the labor-intensive journey behind each artwork. (Jed Daya)
Leon Gallery
Dec. 02, 2023
Jigger Cruz (b. 1984) - A Clumsy Sky in Tone as Dry
Est: ₱2,400,000 - ₱3,120,000
A Clumsy Sky in Tone as Dry signed and dated 2020 (lower right) oil on canvas 55” x 43” (140 cm x 109 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UPJigger Cruz, through his distinctive use of materials and technique, has carved a unique place in the art world, creating tactile and sensorial masterpieces. His process of "overpainting," involving various methods such as impasto, cutting, burning, and spray painting, serves as the gateway to transforming his pieces into something beyond the ordinary. Initially appearing chaotic, a deeper examination unveils a coherent entirety that emerges from what seems like an act of destruction and defacement. This metamorphosis infuses the artwork with an entirely new significance, breathing fresh life into its former self. Cruz’s artistic approach, although initially contradictory with its juxtaposed treatment, delves into timeless and enduring themes. His technique, akin to Tolstoy’s concept of art, resonates with the notion of evoking emotions within oneself and then using various means to transmit these emotions to others. In the pursuit of this, Cruz's synthesis of creation and destruction can be interpreted as a metaphor for self- expression. The amalgamation of destructive techniques with the creative process symbolizes a profound exploration of the self. Cruz's art becomes a medium through which personal emotions and experiences are not just conveyed but transmuted. Much like Tolstoy’s definition of art, Cruz’s work becomes a conduit for eliciting emotions within the viewer that mirror the artist’s initial sentiments during the creative process. (Jed Daya)
Leon Gallery
Nov. 15, 2023
JIGGER CRUZ (Filipino, born 1984) Untitled 2016 photo and colour etching, ed. P/P 77 x 58cm
Est: $1,000 - $2,000
JIGGER CRUZ (Filipino, born 1984) Untitled 2016 photo and colour etching, ed. P/P signed and dated lower right: JIGGER 2016 editioned lower left 77 x 58cm PROVENANCE: Viridian Press, Victoria Private collection, Victoria OTHER NOTES: Jigger Cruz's art practice is characterised by his idea to play with defacement and vandalisation. Each artwork created has an underlying notion of the Flemish and Post-Renaissance masters which are covered and distorted by his thick layering artistic process. This is not to hide what is beneath, but rather mystifying the classical backdrop. Cruz primarily works across a painting practice, however, upon visiting Australia and collaborating with printmaker John Loane, this is one of the only series of prints that Jigger Cruz has created. Hannah Ryan, Prints & Multiples Specialist
Leonard Joel
Sep. 09, 2023
Jigger Cruz (b. 1984) - Ftygivgd
Est: ₱500,000 - ₱650,000
Jigger Cruz (b. 1984) Ftygivgd signed and dated 2016 (lower left) oil on canvas 12 1/4" x 18 1/4" (30 cm x 46 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot Jigger Cruz's ascent to recognition emanates from his distinctive approach to materials, resulting in captivating and sensory-rich artistic creations. This innovative method involves an elaborate process of overpainting, wherein he deftly employs an array of techniques such as impasto, cutting, burning, and spray painting. These techniques synergize harmoniously, albeit their initial impression of chaos. Upon closer examination, an intricate tapestry emerges, representing a harmonized entity that has undergone a profound metamorphosis through the means of destruction and alteration, thereby bestowing the artwork with an entirely new layer of significance. In essence, Cruz's oeuvre breathes new vitality as it sheds its former skin, metamorphosis of sorts. This seemingly paradoxical treatment imparts a sense of novelty, yet at its core, Cruz grapples with themes that transcend eras and stand the test of time. Through his artistic exploration, he delves into venerable and timeless concepts, thereby bridging the gap between the contemporary and the perennial. (Jed Daya)
Leon Gallery
Sep. 09, 2023
Jigger Cruz (b. 1984) - Raindrops Machine
Est: ₱240,000 - ₱312,000
Jigger Cruz (b. 1984) Raindrops Machine signed and dated 2007 (lower left) oil on canvas 29" x 28 3/4" (74 cm x 73cm) Jigger Cruz created Raindrops Machine in 2007. Around that time, the artist was producing artworks that combined elements of abstraction, expressionism, and contemporary Filipino cultural references. His early oeuvre, painted in vibrant palettes and rendered with gestural brushstrokes, captured a sense of immediacy and unfiltered emotion, inviting viewers to engage with the instinctual and intuitive aspects of his art. From the title and its composition, this oil painting can remind a viewer of David Medalla’s Bubble Machine. The “Bubble Machine” is a sculpture that generates bubbles through a mechanical process, often involving a mixture of soap and water. It is a conceptual artwork, created in 1963, that is considered as one of the earliest examples of kinetic or interactive art. At its core, it can be seen as a symbol of transience, fragility, and the ephemeral nature of existence. Like Medalla, Cruz as well is experimental in artistic approaches. He is innovative and always pushing the boundaries, incorporating elements of interactivity, performance, and conceptualism into his own artistic practice. In 2007, Cruz graduated with a Bachelor of Fine Arts degree from Far Eastern University. (Isabella Romarate)
Leon Gallery
Feb. 18, 2023
Jigger Cruz (b. 1984)
Est: ₱500,000 - ₱650,000
Jigger Cruz (b. 1984) JsG#hjkl&ffff signed and dated 2016 (lower right) oil on layered canvas and wood 18 1/2" x 15" (47 cm x 38 cm) PROVENANCE: Private Collection, Italy Jigger Cruz’s claim to fame was his signature use of materials to create tactile and sensorial masterpieces. He does so via an act of overpainting in which uses a variety of techniques such as impasto, cutting, burning, and spray painting in order to achieve his desired effect. Though chaotic at first, a closer and more nuanced look reveals a cohesive whole that has been transformed through methods of destruction and defacement; giving the piece a whole new meaning. In other words, Cruz’s works seemingly breathe in new life by shedding its former self. Though this seemingly juxtaposed treatment can be considered novel, what Cruz is dealing with here are timeless and age-old themes. In one of the earliest and most important texts of art theory, the Russian novelist Leo Tolstoy writes in his seminal book What is Art “To evoke in oneself a feeling one has experienced and having evoked it in oneself then by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit this feeling that others experience the same feeling -- this is the activity of art.” In the same vein, Cruz’s synthesis of creation and destruction can be seen as a metaphor for self expression. (J.D.)
Leon Gallery
Dec. 03, 2022
Jigger Cruz (b. 1984) The Birth of the Stupid Orange
Est: ₱1,000,000 - ₱1,300,000
The Birth of the Stupid Orange signed and dated 2011 (lower right) oil on canvas with frame: 36” x 26” (91 cm x 66 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot Jigger Cruz’s claim to fame was his signature use of materials to create tactile and sensorial masterpieces. He does so via an act of overpainting in which uses a variety of techniques such as impasto, cutting, burning, and spray painting in order to achieve his desired effect. Though chaotic at first, a closer and more nuanced look reveals a cohesive whole that has been transformed through methods of destruction and defacement; giving the piece a whole new meaning. In other words, Cruz’s works seemingly breathe in new life by shedding its former self. Though this seemingly juxtaposed treatment can be considered novel, what Cruz is dealing with here are timeless and age-old themes. In one of the earliest and most important texts of art theory, the Russian novelist Leo Tolstoy writes in his seminal book What is Art “To evoke in oneself a feeling one has experienced and having evoked it in oneself then by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit this feeling that others experience the same feeling -- this is the activity of art.” In the same vein, Cruz’s synthesis of creation and destruction can be seen as a metaphor for self expression. Despite Cruz’s basis within modern artistic theory, his works do not only contain inherently modern ideals. Though Cruz’s works are best seen as an expression of pure emotion and ideas, the content of these visual messages are undoubtedly contemporary. We can see this first through the materials used. Though Cruz also works with traditional media such as oil and acrylic paints, Cruz also layers his pieces with enamel, spray paint, and other unorthodox materials. Thus, Cruz effectively confronts and subverts our traditional notion of what art can be by using materials not inherent to the art world, but to other forms of production. Second, Cruz also creates art as a form of history- making. By adopting canonically western styles and techniques as his base, Cruz performs a ritualistic act of subversion through his unorthodox and destructive treatment. By doing so, Cruz confronts the hegemonic blanket that has enveloped most of the art world by uncovering new and even lost forms of expression. (J.D.)
Leon Gallery
Sep. 10, 2022
Jigger Cruz - Untitled
Est: ₱100,000 - ₱130,000
Jigger Cruz Untitled signed (lower right) dated 2019 pastel on paper 19 1/4" x 13 1/2" (49 cm x 34 cm) The art of Jigger Cruz is iconic for its menagerie of colors heaved onto the canvas until it becomes textured and palpable. However, amid the mishmash there is tranquility, perhaps in the containment of the chaos. In this pastel piece, Cruz is a storyteller creating solely from abstract emotion, a deviation from his iconic vandalisms over Classical art. Though chaotic at first, a deeper and more detailed look reveals a cohesive whole that has been transformed through methods of destruction and defacement, giving the piece a new meaning. As the piece glares at you, you are drawn to its mystery. (P.I.R.)
Leon Gallery
Jun. 11, 2022
Jigger Cruz (b. 1984)
Est: ₱6,000,000 - ₱7,800,000
Jigger Cruz (b. 1984) Blissful Thrones in the Tune of a Lazy Afternoon signed and dated 2018 (lower right) oil on canvas a) 60" x 48" (152 cm x 122 cm) b) 60" x 72" (152 cm x 183 cm) overall: 60" x 120" (152 cm x 386 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot EXHIBITED Albertz Benda, Jigger Cruz: Picture Towards the Other Side, New York, March 15 - April 21, 2018 Jigger Cruz’s claim to faim was his signature use of materials to create tactile and sensorial masterpieces. He does so via an act of overpainting in which uses a variety of techniques such as impasto, cutting, burning, and spray painting in order to achieve his desired effect. Though chaotic at first, a closer and more nuanced look reveals a cohesive whole that has been transformed through methods of destruction and defacement; giving the piece a whole new meaning. In other words, Cruz’s works seemingly breathe in new life by shedding its former self. Though this seemingly juxtaposed treatment can be considered novel, what Cruz is dealing with here are timeless and age-old themes. In one of the earliest and most important texts of art theory, the Russian novelist Leo Tolstoy writes in his seminal book What is Art “To evoke in oneself a feeling one has experienced and having evoked it in oneself then by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit this feeling that others experience the same feeling -- this is the activity of art.” In the same vein, Cruz’s synthesis of creation and destruction can be seen as a metaphor for self expression. Despite Cruz’s basis within modern artistic theory, his works do not only contain inherently modern ideals. Though Cruz’s works are best seen as an expression of pure emotion and ideas, the content of these visual messages are undoubtedly contemporary. We can see this first through the materials used. Though Cruz also works with traditional media such as oil and acrylic paints, Cruz also layers his pieces with enamel, spray paint, and other unorthodox materials. Thus, Cruz effectively confronts and subverts our traditional notion of what art can be by using materials not inherent to the art world, but to other forms of production. Second, Cruz also creates art as a form of history-making. By adopting canonically western styles and techniques as his base, Cruz performs a ritualistic act of subversion through his unorthodox and destructive treatment. By doing so, Cruz confronts the hegemonic blanket that has enveloped most of the art world by uncovering new and even lost forms of expression. (J.D.)
Leon Gallery
Jun. 11, 2022
Jigger Cruz (b. 1984)
Est: ₱800,000 - ₱1,040,000
Jigger Cruz (b. 1984) Taste It Before You Leave signed and dated 2009 (lower right) oil on canvas 48" x 24" (122 cm x 61 cm) PROVENANCE Private Collection, Makati City A graduate of Far Eastern University, unlike his peers, Cruz did not see painting as a full-time profession from the getgo. It wasn’t until 2011, when he met the acclaimed artist Manuel Ocampo and took up an apprenticeship offer under the renowned Neo-Expressionist master, that Cruz decided to take up painting full-time in order to pursue his interests and passion. Since then, Cruz has mounted numerous solo and group shows at renowned institutions such as Tala Gallery, Blanc Art Space, and Ayala Museum. Cruz’s unique and singular contemporary style has also rocketed him to international acclaim. Cruz’s works were exhibited in cities such as Singapore, Switzerland, and New York. Cruz was also part of the groundbreaking group exhibit titled WASAK! Filipino Art Today. (J.D.)
Leon Gallery
Apr. 23, 2022
LOT WITHDRAWN
Est: ₱1,000 - ₱1,100
LOT WITHDRAWN
Leon Gallery
Apr. 23, 2022
Bjorn Calleja (b. 1981); Jigger Cruz (b. 1984); Don Dalmacio (b. 1979) Edric Go; Joel Quinones (b. 1983) - Incident #13
Est: ₱20,000 - ₱26,000
Bjorn Calleja (b. 1981); Jigger Cruz (b. 1984); Don Dalmacio (b. 1979) Edric Go; Joel Quinones (b. 1983) Incident #13 signed and dated 2016 (verso) mixed media on canvas 24” x 18” (61 cm x 46 cm)
Leon Gallery
Mar. 05, 2022
Jigger Cruz (b. 1984) - Untitled
Est: ₱1,000,000 - ₱1,300,000
Untitled dated 2008 (verso) oil on canvas 72" x 48" (183 cm x 122 cm) LITERATURE House: A Collection of Paintings of Philippine Houses, by Ramon N. Villegas and Lisa Guerrero Nakpil, 2017; Full Color Illustration, Page 91; with text on pages 92, 93. One of the most outstanding Filipino abstract artists today, Jigger P. Cruz was born in 1984 in Malabon. He graduated BFA Fine Arts, major in Advertising, at Far Eastern University. He is partially color-blind, so he has formulated his own method of color comprehension. Whereas normal sight derives emotion from color stimuli, it is form and movement that inspire him. Because of frustration and lack of confidence, he felt that he was discriminated against, such as when he joined the Metrobank (2003) and the Phillip Morris (2006) competition. He stopped painting for a while. Eventually, he decided to refuse to be affected by what people had to say. He persisted in showing in various galleries, such as in the show “Pink Fumes” (2007, Pablo Gallery, Cubao); “Swing” (2008, Blanc Art Space, Makati); “Constructing Deconstruction” (2009, Tala Gallery, Q.C.); “Tabi Tabi Po” (1:AM Gallery, San Francisco, CA); “Watching the Wheels” (2010, Ayala Museum). His work was shown in “Dead End” (2011, West Gallery, Q.C.); “Glitch Habitation” (2012, Primae Noctis Gallery, Lugano, Switzerland) Perhaps reflecting his mood, he started doing work centering on deconstruction and defacement, acts of vandalization. The early work at hand is not blatantly iconoclastic. The dissatisfied face of a woman dominates the picture. A colorful cloth adorns her head; pearls glisten at her throat. At her mouth is a house: she is both kissing it, and talking incessantly about it. It is an upper-class house: so it is not only shelter and nest. It is also a means to validate and increase her social status. Ironically, as he has attained success after success, the artist has started collecting actual houses. (From the Ramon Villegas archives.)
Leon Gallery
Mar. 05, 2022
Jigger Cruz (b. 1984) - Horizontal Farewells
Est: ₱1,400,000 - ₱1,820,000
Horizontal Farewells signed and dated 2013 (lower right) oil on layered canvas and wood including frame: 43" x 31 1/2" (109 cm x 80 cm) PROPERTY FROM AN ITALIAN COLLECTION Primo Marella Gallery Cruz’s art style has been known to push deeper meanings with each and every layer of different materials he uses to create his pieces, a part of the reason for his unique art style is that he is colorblind and he uses tactile and sensorial materials to further convey himself and his artworks. This artwork in particular is an example of his signature style, in that Cruz has an already painted canvas of what it seems to be two naked women embracing one another but most of the scene is covered in layers of tactile and sensorial materials leaving only a glimpse of the women. The rest of the layers are of scattered dark shades of different colored oils, burned materials, scratched and cut papers, and spray can paint of black, orange, and purple with a few hints of yellow. The dynamic of defacement and vandalization somehow works together with the original painting under the layers. Although there is no clear logical placement for the different layers, Cruz’s clash of both a classical art style and his contemporary styles synthesize in this piece. There is an added mystical element of revealing only a glimpse of the classical painting while being covered in layers of other materials. This gives a deeper perspective and understanding of the connection between the old classical art and the modern dynamic style, at the same time the deeper meaning of the artwork itself. Works such as this prove Jigger Cruz’s skill in expressing important messages meant to reflect the contemporary world.
Leon Gallery
Dec. 04, 2021
Jigger Cruz (b. 1984) The Dance Seemed To Be Going On The Right Down Deep On Its Flesh
Est: ₱600,000 - ₱780,000
Jigger Cruz (b. 1984) The Dance Seemed To Be Going On The Right Down Deep On Its Flesh signed and dated 2012 (lower left) oil on canvas 18" x 12" (46 cm x 30 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot The works of Jigger Cruz often feature a menagerie of colors heaved onto the canvas. Cruz applies this technique until the paint becomes dimensional and palpable, allowing his works to exist not only as a flat surface, but also as an object that takes on various sculptural properties. This work seemingly invites the viewer to not only view, but to engage with its intricately layered treatment. Its webbed and jagged paints desperately latch onto the frame until a predominantly cerulean landscape latches the viewer in. Drippings of a vivid color cry over a blank surface as the textures jump out of the painting as shapes, ready to take on whole forms. But there is peace amidst the destruction and a sense of unity born out of utter chaos in its horizontal patterns. A graduate of Far Eastern University, unlike his peers, Cruz did not see painting as a full-time profession from the get-go. It wasn’t until 2011, when he met the acclaimed artist Manuel Ocampo and took up an apprenticeship offer under the renowned NeoExpressionist master, that Cruz decided to take up painting full-time in order to pursue his interests and passion. Since then, Cruz has mounted numerous solo and group shows at renowned institutions such as Tala Gallery, Blanc Art Space, and Ayala Museum. Cruz’s unique and singular contemporary style has also rocketed him to international acclaim. Cruz’s works were exhibited in cities such as Singapore, Switzerland, and New York. Cruz was also part of the groundbreaking group exhibit entitled WASAK! Filipino Art Today.
Leon Gallery
Dec. 04, 2021
Jigger Cruz (b. 1984) Taking Me To Itself
Est: ₱500,000 - ₱650,000
Jigger Cruz (b. 1984) Taking Me To Itself signed and dated 2015 (lower right) acrylic on handmade paper with frame: 65 1/4" x 53 1/4" (166 cm x 135 cm PROPERTY FROM THE MARIO AND MIMI QUE COLLECTION Acquired directly from the artist Jigger Cruz explored the concept of healing, laying a furor of line and color. Known for his works of abstract compositions centering on defiance and defacements, the artist draws on his own experiences, rising out of the fugue of being physically trapped by his own psyche by transcending physical borders to overcome mental states. Orange and blue streaks the painting’s surface spewed with a yellow lined with red, orange, and green - the colors of heat, life, and healing. Cruz’s paintings are an investigation of the materiality of painting. At the same time, their subject matter - ranging from the burden of history to religion - addresses social and political concerns in the contemporary Philippines. It is Cruz’s ability to extract the universal from the personal that makes Talking Me to Itself stand out. Once again, he places himself as one of the Philippines’ leading abstract expressionists whose canvases are imbued with a mystical power startling and incandescent in their vision, juxtaposition, and revelation.
Leon Gallery
Oct. 16, 2021
Jigger Cruz (b. 1984) Thoughts of Rotten Grays
Est: ₱500,000 - ₱650,000
Jigger Cruz (b. 1984) Thoughts of Rotten Grays signed and dated 2010 (lower right) oil on canvas without frame: 36” x 18” (91 cm x 46 cm) with frame: 7” x 42” x 24” (18 cm x 107 cm x 61 cm)
Leon Gallery
Jul. 16, 2021
Jigger Cruz (b. 1984) - Untitled
Est: ₱200,000 - ₱260,000
Jigger Cruz (b. 1984) Untitled signed and dated 2013 (bottom) mixed media on paper 16” x 12” (41 cm x 30 cm)
Leon Gallery
Jul. 16, 2021
Jigger Cruz and Pow Martinez (b. 1984) (b. 1983) - Subdivision Refinement Series 6
Est: ₱85,000 - ₱110,500
Jigger Cruz and Pow Martinez(b. 1984) (b. 1983) Subdivision Refinement Series 6 signed and dated 2015 (lower left) mixed media on paper 21 1/2” x 18 1/2” (55 cm x 47 cm)
Leon Gallery
Jul. 16, 2021
Jigger Cruz Pow Martinez (b. 1984) (b. 1983) - Subdivision Refinement Series 8
Est: ₱50,000 - ₱65,000
Jigger Cruz Pow Martinez(b. 1984) (b. 1983) Subdivision Refinement Series 8 signed and dated 2015 (lower left) mixed media on paper 15 1/2” x 12 1/3” (39 cm x 31 cm)
Leon Gallery
Jun. 05, 2021
Jigger Cruz (b. 1984)
Est: ₱200,000 - ₱260,000
Jigger Cruz (b. 1984) Impediments Outside My Shelter signed and dated 2003 (lower right) oil on canvas 36” x 36” (91 cm x 91 cm) Provenance: Private collection, Manila Before venturing into his trademark style of vandalizing images reconstructed from the paintings of old masters using globs of pigment squeezed directly from the tube, this piece was among the earliest works by Jigger Cruz at a time when the artist was still exploring his distinct artistry and style. It is also important to note that Cruz is color blind, and this is especially discernible in this particular piece His employment of a monochromatic palette is evident in his use of brown hues and its complementary shades. Despite this, Cruz’s use of color is still commendable because of his well-balanced and congruous application in the composition. In the monograph Jigger Cruz, Canadian artist Benny Nemerofsky Ramsay writes: “As Cruz paints over existing surfaces charged with meaning, he leaves room for interpretation, for doubt, for the very equivocacy of the paint that lies splattered on the studio floor. Here is a captivating ambiguity as to whether his interventions bring us closer to the truth of the painting upon which he is acting, or if they take us even further away, creating an impenetrable barrier not only to the initial composition, but to the emotional potential it holds.”
Leon Gallery
Jun. 05, 2021
Jigger Cruz (b. 1984)
Est: ₱200,000 - ₱260,000
Jigger Cruz (b. 1984) Untitled signed and dated 2012 (upper left) oil on canvas painting: 11 1/2” x 8 1/2” (29 cm x 22 cm) with frame: 17 1/2” x 14 1/2” (44 cm x 37 cm) PROPERTY FROM A VERY DISTINGUISHED COUPLE Visual artist Jigger Cruz is often considered one of the most important Filipino artists in the scene today. A graduate of Far Eastern University, unlike his peers, Cruz did not see painting as a full-time profession from the get-go. It wasn’t until 2011, when he met the acclaimed artist Manuel Ocampo and took up an apprenticeship offer under the renowned Neo-Expressionist master, that Cruz decided to take up painting full-time in order to pursue his interests and passion. Since then, Cruz has mounted numerous solo and group shows at renowned institutions such as Tala Gallery, Blanc Art Space, and Ayala Museum. Cruz’s unique and singular contemporary style has also rocketed him to international acclaim. Cruz’s works were exhibited in cities such as Singapore, Switzerland, and New York. Cruz was also part of the groundbreaking group exhibit entitled WASAK! Filipino Art Today. The work is expectedly mind-boggling: a menagerie of colors heaved onto the canvas until the paint becomes dimensional and palpable, much like creatures unnervingly stalking its prey in the dead of night, creeping out of the surface and into the realm of the real. It aches for you to empathize: webbed and jagged paints desperately latch onto the frame until a predominantly technicolor landscape latches the viewer in. Drippings of a vivid color cry over a blank surface as the textures jump out of the painting as shapes, ready to take on whole forms. But there is peace amidst the destruction garibayand a sense of unity born out of utter chaos in its horizontal patterns
Leon Gallery
Nov. 28, 2020
Jigger Cruz (b. 1984) - Untitled
Est: ₱2,000,000 - ₱2,600,000
Jigger Cruz (b. 1984) - Untitled signed and dated 2018 (lower right) oil on canvas Accompanied by a certificate issued by Primo Marella Gallery, Italy confirming the authenticity of this lot Estimate USD : $40000-$52000 Estimate Euros : €33333.33-€43333.33
Leon Gallery
Sep. 19, 2020
Lot 51 is fused with lot 50 and sold as a single lot
Est: -
Lot 51 is fused with lot 50 and sold as a single lot Jigger Cruz (b. 1984) Abstract II signed and dated 2015 (bottom) each mixed media
Leon Gallery
Sep. 19, 2020
Jigger Cruz (b. 1984) - Abstract I and Abstract II (Diptych)
Est: ₱600,000 - ₱7,800,000
Lot 50 is fused with Lot 51 and sold as a single lot Jigger Cruz (b. 1984) Abstract I and Abstract II (diptych) signed and dated 2015 (bottom) each mixed media Most of Jigger Cruz’s body of work exists within a state of dialectical tension. On one hand, it is easy to see his pieces as pure and unfiltered abstraction, born out of the anarchic disorder of the mind. But, on the other hand, a critical and careful eye reveals a sense of harmony, place, and framing often attributed to classical and academic techniques and treatments. It is this struggle between abstraction and representation that makes Cruz’s art engaging. It consistently reveals different aspects of itself with each viewing. Each aspect of his work is imbued with meticulous detail, but Jigger Cruz has perfectly encapsulated within his works an eternal duel of the fates. A graduate of the Far Eastern University’s Fine Arts program and the De La Salle-College of St. Benilde’s Design program, he was a finalist of the Metrobank Art and Design Competition in 2003 and the Philip Morris Philippine Art Award in 2006. Cruz has since landed landmark exhibits both here and abroad, such as his Watching the Wheels exhibit at the Ayala Museum in 2010, Glitch Habitation at Primae Noctis Gallery in Switzerland, and SUBTRACTION PARADISE Art Stage Singapore. Cruz was also part of the groundbreaking WASAK! Filipino Art Today group exhibition in Berlin. Estimate in USD $60000-$78000
Leon Gallery
Jul. 09, 2020
JIGGER CRUZ | Kiosky
Est: $60,000 - $90,000
Oil on canvas
Sotheby's
Jun. 20, 2020
Jigger Cruz (b. 1984) - Sunflower with Beer and Peanuts
Est: ₱600,000 - ₱780,000
Jigger Cruz (b. 1984) Sunflower with Beer and Peanuts signed and dated 2019 (lower right) oil on paper 60” x 48” (152 cm x 122 cm) Estimate USD $12000-$15600 Estimate Euros €10000-€13000
Leon Gallery
May. 30, 2020
Jigger Cruz (b. 1984) - Abstract
Est: ₱150,000 - ₱195,000
Jigger Cruz (b. 1984) Abstract signed and dated 2015 (lower right) oil on board 21” x 14” (53 cm x 36 cm)
Leon Gallery
Mar. 14, 2020
Jigger Cruz (b. 1984)
Est: ₱850,000 - ₱900,000
Embrace of Dunchampian IV
Salcedo Auctions
Mar. 14, 2020
Jigger Cruz (b. 1984)
Est: ₱1,200,000 - ₱1,400,000
Desire and sacred
Salcedo Auctions
Feb. 22, 2020
Jigger Cruz, (b. 1984), Untitled, signed and dated 2011 (lower left), mixed media
Est: ₱800,000 - ₱1,040,000
Jigger Cruz, (b. 1984), Untitled, signed and dated 2011 (lower left), mixed media 31” x 24” (78 cm x 60 cm),
Leon Gallery
Oct. 19, 2019
JIGGER CRUZ, Gone Atray, To Hell With The Past
Est: ₱1,500,000 - ₱2,500,000
2019, oil on canvas, 60.5 x 48.5 in (153.6 x 123 cm)
Finale Auctions
Oct. 19, 2019
JIGGER CRUZ Untitled signed and dated 2016 (lower right) oil on canvas 17 1
Est: ₱120,000 - ₱156,000
JIGGER CRUZ Untitled signed and dated 2016 (lower right) oil on canvas 17 1/2” x 14 1/2” (44 cm x 37 cm)
Leon Gallery
Oct. 06, 2019
JIGGER CRUZ | Untitled
Est: $70,000 - $90,000
Acrylic on canvas
Sotheby's
Sep. 21, 2019
JIGGER CRUZ (B. 1984)
Est: ₱1,600,000 - ₱1,800,000
Metaphorical Suffocation
Salcedo Auctions
Sep. 21, 2019
JIGGER CRUZ (B. 1984)
Est: ₱160,000 - ₱180,000
Untitled (Ephemera)
Salcedo Auctions

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