Mexican painting has come a long way in the intervening decades, partaking of the pluralism and multiculturalism of the postmodern era without forsaking its roots, as seen in the art of Cristina Ruiz, who lived and worked in Paris from 1984 to 1986, later studied in Florence, and continues to return to Europe each summer. Through her wide ranging studies abroad and in her native Mexico, Ruiz has refined the technical skills that enable her to create her unique style of romantic and meaningful figuration.

The most immediately impressive characteristic of her meticulously finished yet fluidly accomplished works in acrylic on canvas is how successfully she has synthesized aspects of drawing and painting. Working mainly in subtly modulated monotones, building her compositions with refined strokes in what appears to be a dry-brush technique, Ruiz creates compositions that succeed simultaneously in both figurative and abstract terms.

Despite the oddness of metaphor, however, the images succeed splendidly in aesthetic as well as symbolic terms by virtue of Ruiz’s skills in integrating the various elements of the composition. These are intricately interwoven by her brush in a manner that can only be compared to certain aspects of Asian painting. Her generous use of white space in and around her images to fill her compositions with a sense of light can also be compared to the ethereal effects achieved by landscape painters of China and Japan.

Cristina Ruiz is an intrepid painter, strong enough to transcend banality. Cunningly driving the viewers attention to the technical finesse with which she handles her strokes and to the deep meaning of her work.

Thus by the skillful manipulation of tone and texture and subtle variations of “touch” and emphasis, Ruiz is able to provide sufficient visual interest to satisfy the most sophisticated aesthetic tastes, even while indulging her own innate romanticism.

Lawrence Downes
Gallery & Studio, New York