We finished listening to the four marine interludios of Benjamin Britten . We finalized the ritual with the marine fosforescencias and zarabandas that filters, like the sonetos of Heine and the ghosts in pain, by psiquis of the invited ones. In front we have a picture, a painting, a model of virtues, an oleo on fabric of the painter, young person Mexican painter, Cristina Ruiz. she has exposed several times in Mexico and in the United States, in where her triumph was epopéyico.

In addition to the correction in the drawing, in the harmony that obtain in the perspective and points of flight that are admirable, in the game of volumes and combined spaces, in the color that is aggressive and puts of reliefs states of the soul, states between the doubt and the sinking, the melancholy and the disdain, the tepidity and the enchantment, the force with the mortificada calm gives, more surprising they are even its subjects and the meaning.

She exposes, simply, to human beings, even, to naked men and women in the nocturnal caress, in the furtive thing of the encounter, what Leopardi llamó the secret of the sexual dawn and desire.

In effect, all the painting of Cristina Ruiz is a exhibition of the love, secret and near, mystical and quiet, immersed the encounter in hers and I of the personages inhabitants of the picture and their explosions of sensations, undulations, exaltaciones, twilights of wonderful anatomy.

She After years to work with means to her disposition, to shape the reality but transfigurating, returns nothing else to the same reality that exaggerating it and changing it in a species of ultrareality, hyperrealism, desmenuzamiento of the being. In red stays, scarlet, ocher oranges either, the man and the woman they are interlaced, they love, they make the love or is desired with the eyes, are listened to with the glances, they are lamented to be or of not being in the paradise or that own hell of Francesca de Rímini in symphonic space.

Those ambivalent beings, women who engrandecen their sort and condition and they fall lowered by the surprises of the fortune and sear to the sea that is black glass of sensuality and desire. Cristina Ruiz structures her works as if it was a series of pages of the book of remembranzas of a poet, of the Goethe young person, his Werther personage, Gide, storms of Valery who locks in its marine cemetery and the solar distance. "o Soleil, ces, t RAI are of him Temp perdu".

Cristina Ruiz, metafórica, poetically arranges to these beings who, finally will burn themselves, when the sartriana reason between in the game of the glass beads.

But while and in spaces, scopes more musical than pictorial, but of aesthetic continent always, and first order, make that the lovers, beautiful archetypes are, at the same time, flechadores of the sky, you augur of the misfortune of the lack of affection, cartomancianos of frenetic desires and the passional overflowing.

The only one in its sort, imposing its erótica but plagued painting asaz of mystical symbols, like can be the one of the hope and the subliming, Cristina Ruiz, painter of the light and the dark of the soul, perver siones and the sacralización of the hug and good bye, like in goods bye of pinto Beethoven with absolute freedom and absolute conscience from which its work is going to arrive to the center of the sensible being, intelligent, whom it does not try to hide the his most horrifying more beautiful emotions nor, but finding that path of beautiful and wonderful mysteries.

Cristina Ruiz is imposing her style and its plastic forms to the most demanding public. More obstinate to accept the truth of the human body and its obsessions, temptations, purely sexual, worldly, true, undeniable actions, that simply are.

By that bravey Cristina is disciple in the time of Virginia Woolf, Jane Austem, the Bronte Sisters, the Duse, the Stor nor, the Duncan and sample that what painters of the stature of the Pre Rafaelitas happened to the world, as Gabriel Rossetti and Ford Madox Brown continue effective.

Cristina Ruiz makes painting and there same she makes music. In hers territories of the elegant sensuality they exist resabios of Debussy and Ravel, of Satie and the calideces, mórbidas implicit intentions in danzón Cuban of Aaron Copland and the crecendos and the quick one with fuoco of Mallarmé poet.

Si bien está presente en la obra pictorica de Cristina Ruiz ese deseo de lograr, de alcanzar la felicidad de la pareja, o mejor dicho, el instante en que se cree que se a triunfado junto con Afrodita, existe a través de cada una de sus pinturas un sentimiento de irrealización, de obsesión, de inutilidad, de engaño colorido, de apariencia, de imagen sin alcanzar, de logro no logrado, de una manera y fútil idea de que se realizó el amor pero que no fue sino balbuceo e invento. Although that desire is present in the pictorica work of Cristina Ruiz to obtain, to reach the happiness of the pair, or rather, the moment in which it thinks that to prevailed Aphrodite along with, exists through each one of its paintings a feeling of irrealización, obsession, uselessness, colorful deceit, appearance, image without reaching, profit nonobtained, of a way and fútil it devises of which the love was made but that it was not but stammering and invention.

Like the inventions that the human being has become so that its life has goals, ways, positivismos and trivialities instead of ontológicas truths.

The faces, the attitudes the anatomy, then, of the personages of Cristina Ruiz are arquetípicos of the beauty.

In their encounter and mix-ups, like in the found paradises of red, or in the desert deserts, or those territories of luminous warnings, the beings who she arranges are spiritual triumphs and glorifications of the being.

As in the soneto of Villaurrurtia they make pairs, they go away, they move away, they are desired, they disappeared. They are dumb, quiet statues, reflected of the human condition.

Men and women to the expectation.

Always in the doubt. One is due to remember that by more beautiful or beautiful than he is the being, does not stop being being that never makes to a side its condition who is the one to destroy or its indescribable destiny to the self-destruction.

Nevertheless, which they look for those finders of treasures and of fantastic and submarine mines that are the personages of Cristina the Ruizes are convinced that in their submarine theater who are the planes of the linen cloth, can obtain what they did not obtain, nor utópicamente, painters and writers like Musil, Byron, Degas, Moreau, Cocteau.

The vision of the beauty that has Cristina Ruiz and that the plasma in its pictures is magnificent. It reconciles with the resemblances and, seeing it well, wittingly, it is the only way to return to believe in the man and the woman who, undressed of badly, like in a new paradise of ludismos and storms, convergences and divergences, starts again her possibility of being until in not being. Everything can be. Wishing and loving again.