The voluptuosidad of the human body that is interlaced in the infinitesimal hug, the resulting poem, the meat transfigurada in misticismo and love, the greatness of the form that transfigura the true torment of existing in funambulesca exaltación and abrupt copula that is éxtasis and religiosidad, the mist of the pesimism that vanishes before its Majesty the anatomy, as well as the thirst to say, until the ndecible by the freedom of creation is what the total, absolute works form, of sapiencia in the drawing and better color, of romantic inspiration and new updated academy, of that exquisite artist who is Cristina Ruiz, whose works finish being exposed with good critical and economic success, in "Broome Street Gallery" of the neoyorkino Soho.

The apparent thing and what the memory defies. What now it is said with the elegance of chosen and the galanura of the beautiful thing. In ocher and yellow bottoms, inside of geometric forms, Cristina Ruiz it introduces his protagónicos personages: the mythical heroes of the present time who respond the daily thing, but the esfumina in mists, night coloured clouds intensified by the brilliance of the sun of average night, by lujuria and thus, illuminated and naked, surprises by their concept of the beautiful thing, its characteristics nobodies that they will be and within significant absences and presences of the great theater of the life, initiates a dialogue, a communication among them and espectadorespara to conclude of course that the poem that it gives in the refulgente center is dark night, outcry of the day, insomne dream of ensoñar and of the love that dared to the aim to say its name.

Each one of its 20 acrylics on fabric is testimony of a truth, time the only one whereupon counts the mortals to enjoy which demina life and also tribulation. The others are invention, tragedy, draa of the invention and fruit of the éxtasis, the orgiástico and the apollonian thing.

Their figures, fluorescent and chipped images, are of clásico.Cada cut body is a tribute to the being who being is he if and he is not in the art, the aesthetic one, the epistemologic ontológico and of the same being.

And it's one or several rational beings and for that reason their filoficas implications, sublimated, beautiful, labyrinths of poses, forms, conjunctions disjunctions.

The spiritual and most singular art. Although for many this it is difficult to understand, it more does not form it in himself and what with her it is said or one is about to to say.

The thousands and one night of possession. One hundred twenty days to touch to the beauty with the love that is more labyrinth and more life death in this valley of mercy. Consecration of the body, the house and the being, is man or woman.

Naked that creates and recreates the Cristina Ruiz arises from history and the work with model and of which its féerica imagination forces to him to shape.

Renaissance accents, women who rest his spleen made a ball of yarn in significant interlaced drawing. The legs and the arms dismiss the sensual, onírico, the secret thing aroma of: the open secret of the free meeting and the fragility of the moment that is light, crush, existencialidad.

In other linen cloths, parties, branched off, drawn into squares the experiment in where the reflection is cover mental and the decision is remarkable. Those drawings to the sanguina or with dry end recall, reddish, of for example Blake, inspired as well by Sebastiano of the Piombo, or the swimmers of Delacroix who were inspired by fantasies of the Masaccio.

The spell by the meat of Pisanello is present, as well as the dibujísticas decisions of Limbourg and the voluptuosidad of the Greek estatuaria.

Equal are aesthetic antecedents in the work of Cristina Ruiz of the adolescent children of Renoir, that influences of Kallimachos, Skopas, the Correggio, Doeldasas and Antoniano de Afrodisias that of renzo Costas and Lucas Cranach.

Also present you mark to Von Byros and Aubrey Beardsley like Alphonse Much, Cézanne, Degas, Rubens, Zárraga Angel, Romero de Torres, Gorozpe, Ruelas, Ensor and the count of Toulouse Lautrec.

The feminine torsos, sights to great escorzó, from back and towards arri have, are sources to reinventar to the same body of woman that raises perfection, beauty and to that rare disease that is the melancholy.

With the perfume of the gardenias emerald in which one hides, as the colibríes in the glasses of the trees and the song of the two sopranos of the Motete Exultate Jubilate cause that one with God, its creations, their perfect creaturas reconciles and that separate the idea of the infernal, although it is participated in it.

Cristina Ruiz shows her knowledge of the anatomical drawing, but she does not stop in it.

She knows to give color them, that it is feeling, mood, manifestation of some idea, memory, place or lived and imagined sensation, knows to give perspective in graceful compo siciones them and centers or puts to her protagonists in ideal zones of the surface of the picture.

It floods them of floods of mysterious liquids and fits the possibility, according to Be gun and Caruso, to insufflate to them, aromas, acantos, scents to unique sex or the aroma of the flowers miraculously that are temptation for the birds men.

The art of Cristina Ruiz is a narrative art, certainly, but without of jar of being art, simbológico, sígnico art, of ícono, standard and education. And porqué is important returns to give to the human body the hierarchy that it has had through the history of the art.

Today of course forgotten by that they go of modernist and that is not than ignaros and ignorantes more of history, art and condition.

Beautiful heads perfected by the romanticism and fórmu and cánones of the beautiful thing, torsos, chests, hips, legs feet, sexes, ma, everything give back the corporal greatness to us without stopping being a species of oration, chose, loa, soneto of fourteen verses in which bién to the aesthetic attributes of the man surrenders.

But no longer she is the athlete, neither the archetype, nor the greco-roman agonist, nor the Homeric hero, nor the one of the old legend, but he is the being of every day, with interrogations, necessities, turbulences, diseases, sufferings and passions of this contemporaneidad.

The man and the woman of vast today in her, great one, amazing inescapable presence. Real, mirrors of which we are and which we were and never of which we let be and to exist.

Whitman and his Anagóricos poems, the love sonetos of I saw llaurrutia, the poems of Adriano for Antinoo, the last God of the classic antiquity; phrases of sincopadas cadences, the Banquet of Plato and its definitions of both loves, from the two Aphrodites, both ways of seeing the love, the art, their destiny, challenge and attainment of ideals arise to the contemplation from works the purest from Cristina Ruiz.

With the certainty of quése it is before a fresh work, youthful, uncontaminated, already on the way to a solid and individualistic maturity and of rescue of important realistic values.

For that reason its triumph in New York is explicable in where already it is very of everything what is nonobjective, nonrealistic, nonphilosophical, that is to say, with that encounter with the anything that Heidegger and later Sartre saw with a frightful clarity.

The art of Cristina Ruiz is sensation and is exciting delivery. This is essential. It is essence of the existence and it is the presence, without masks or disguises of any nature, essences of the human beings.

The material love and the sexual love. So as. With the evident one they elegan spirit company who is the one that causes that a thing is popular and another one to see dadera it art work.

If in the middle of century XIX the English calls Pre Rafaelitas acquired as much hierarchy and as much historical value now and they are prolegóme us of the art that tries to approach, subjectively, the most beautiful and elevated feelings of the man, was porqué presented/displayed, idealizadas and idealizados to beings with gorgeous erótica tail, simple divinizados mortals and the love in its sensorial, poetic, mystical, religious, tautológica, spiritual and etérea greatness.

Cristina Ruiz creating what creates feels bases for later plastic developments of Mexico. It is a doubtful and uncertain so subjective art of, like the love, the passion and finally the obsessions.

Cristina Ruiz satisfied artist of its exhaustive orgiástica work. Rotunda. Beautiful like the arrows of Cupido that hurt hearts and lascivious minds. The triumph and sin sinful like obsession of dwarves of Venus mainly the others of the man and the woman.

The Art of Cristina Ruiz who is like the addictions. Essential and incurables.

She already and at this moment has obtained her Krönungs and has left to a side those malherianas words: "Meine Seit Wird Noch Komen".