From Sarcasm to Redemption

 

How does a young artist see life?

Juan de La Cruz is a young mexican artist. Who from his childhood is discovered as an eternal observer of their environment, curiosity that will later reflect on his canvases.

 

The sure, definitive, forceful and sometimes violent stroke is one of the resources that show his genius. From these lines emanate emotions that shake the viewer's conscience and invite reflection.

Anguished characters that wander through the imaginary spaces that the artist visits in his dreams, emotions that emerge through the contrasting colors of his palette.

 

Sarcasm, in each scene suggests the longed-for possibility of redemption, the return to the human and the link of being to oneself.

Without a formal similarity, he does not deny in his actions the plastic and philosophical influence of his great masters: Orozco, Baselitz, Bacon, Schiele, Munch, Lichtenstain and Kirchner.

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If we want to locate De la Cruz in a specific artistic movement or movement, we would have to speak of an expressionist re-humanization, where human anatomy takes on importance and becomes the central axis of the Cruciana proposal.

 

The Living Work

 

The collage inherited from Picasso, is a showcase that shows the daily situations that go varnishing the individual to integrate it into a social mass where he does not recognize himself.

In the "Daily Faces" the juxtaposition of the faces represents the yearning for what could be and was not, the desire to be and the frustration of not being able to. It is a content cry, prelude to catharsis.

"The intertwined" are revealed as shared realities in which two beings merge into the unity of joy. Exercise of looking at yourself in another to forget you.

 

Bodies supplicants, eager for the corporeal satisfaction that is expected as compensation for surrender, love that is confused with desire, passion that is extinguished before burning. To capture the uniqueness of De La Cruz's proposal, two concepts of iconographic traditions in contemporary art are presented: The grotesque and the jocular.

 

De La Cruz turns the grotesque into a satirical expression of morality and, in this way, consolidates a style that transcends epochs.

These characteristics turn out to be a universal transcultural principle, which makes De La Cruz interesting beyond the borders of time, language and culture.

 

The work of De la Cruz can not go unnoticed, dislike or love.