儂那·凱西亞

The work is in good condition overall, as is the canvas which is clear and taut. Indication of minor wear and handling around the edges of the painting, but paint layers are well preserved. Under ultraviolet light inspection reveals no evidence of restoration. Unframed, on Stretcher.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

「人與物件的身份在菲律賓藝術家儂那·凱西亞的沉寂畫筆下若隱若現 … 她的作品有種疏離感，卻又讓餘韻無窮 … 繼而在這種張力間呈現形與空間的關係。」
——Ode to Art Contemporary，二〇一三年

在《靜坐》中，畫家儂那·凱西亞繼續以背面這個奇特角度重新定位肖像畫。此作是畫家第四幅同一場景和人物姿態（畫中人背向畫面）的作品，唯一不同的是時間和狀態；在統一構圖下，呈現一個個不同的人物和身份。儂那·凱西亞重複描繪不同人物的背面肖像，令每幅畫都有自己的身份。這個系列已在肖像畫的領域裡創出一種嶄新的表達模式。女子背對觀者，身軀成了最重要的識別記號，說不定比面容更為實在無欺。

從背面看過去，揭示女子的身份，但我們將永遠不得知曉她的表情。所以說，她身體語言所表達的個性在此很重要：她放下的秀髮、衣著和落在她的肌膚和衣服上的光線，一切留待觀者去判斷女子身份以及她與藝術家的關係。沒有任何個人情感牽扯其中，表達自然大方。《靜坐》有攝影作品的平面感，但超越了純粹的攝影式寫實主義，它不僅是視覺上的精確傳遞，更表達了攝影藝術中鏡頭快拍下人物照的自然氣質，姿態、燈光與靜止感。

儂那·凱西亞是菲律賓少數顛覆繪畫題材的藝術家。她選擇了一種直白的描述手法，不轉彎抹角。《靜坐》甚至可歸於概念藝術，因為它早已擺脫普通畫像的框架。