Cristina Ruiz, first of all woman. Beautiful, with hair color light, one of its passions, that arise from their smooth trowel, warm, spilled in tame golden water currents, where perennially it recreates the form of his constant Renaissance. His esbelta figure, jeans faded and black blouse, is in front of concentrated the work that concludes. With the wood ready in its left hand and the thin brush in the right hand, it straight plants in the inferior margin its company/signature.

The click of the Nikon explodes on the silence of the interlocutor surrounded in the magnificent execution of a symphonic one. Moment registered like imperecedero memory of the privilege donated by the fortune, increased by the grace that the author grants to him: to give name to its work: Painful distance.

The work, color earth, in gamo inexhaustible, arose from its magical trowel, its uteriniano spirit whom a new son stops: "con dulzura, without pain, with the joy that causes giving vida" in wings of figurative the modern one, as it defines her style.

Her new son, the picture, painful Distance, throws to the pupil of the spectator a vigorous impact that involuntarily lodges in its thought and of there in the delicate zone of the feeling, so that modorra leaves his or its mediatic vertigo.

It represents the fracture, the inevitable rupture between woman and man, causes gives by the fear to be absorbed the one by the other or of being put under, like always, by that one, after the éxtasis of the dichotomizing comunión. 0, perhaps, by the weariness load that destroys the love bond that walks even to the eternal fight of the sorts.

Cristina speaks of itself, of her work. Young poetess, of excellence, shaped pale you open in the niches of the literary art. She delineated, since then, his spirit loving light of the Art, not as diletante devo radora of the work of the giants, but in addition, like creator of the aesthetic language in his multiple expressions. She obtained lauros with his almost young poetry. She crossed, she crosses, she will cross, untiring explorer, the tuning fork of the art: recon struye, next to teachers consecrated, old vitrales of churches and European chapels. It discovers his true passion: the painting.

Disciplined disciple, does not sublie to the weight of consecrated or best the anonymous ones. Humble genuine before the knowledge, that does not know democratic attitudes, she rejects capricious cupolas. She lets herself lead by Guadalupe Trueba in the INBA, where she demonstrates his inclination by the figurative thing, within the Valencian Impresionist School. Recently víajo to Greece to take an advanced officer training course.

Allied, the man

Safe that their dreams of childhood are and will be made tangible, never s ntió threatened by the dominion but of Art. On the contrary, it says, painters "han it have many men, or who I admire much, that has encouraged to me and praised, in addition taught. Treatment not to imitate to anybody, each one has its place, everyone has its style, its school its race and its time. Nobody and better nor worse, including the critical, to which Wavilloso stops a work is something and stops or tros are not worth pena''.

Cristina, denies to let itself take by inertia: "Muchos painters paint, is not my case, the fashion, the pretty thing, the decorative thing, when, that I create, we must shape emotions that make vibrate to the people, whom although it does not like yes the work impresione".

Mirrors

Its style has faithful mirrors, precise sources of inspiration, would say the liricos is admitted subjugated by the impresionismo: they "Quien but I like is Soroya by the light that has their pictures, in addition to the teachers with whom I have taken classes like the Herlinda teacher Sanchez Laurel, that I teach to the color and música" (96 97) and the beauty, of the light (97 98).

The Herlinda teacher Sanchez Laurel opened to a wonderful world of possibilities in my search and desire to me of being more versatile. With her incursione in the abstract thing. A day me pidio to paint the jealousy: What you would give color them? How the pintarias? That is, to make design, to give weight him in the picture.

Thus one arrives at wonderful things. "Me gets passionate the impresionists to have created a new style in spite of everything. For example Van Gogh, its fight by a dream becomes incredible. By to have died in the misery without obtaining something in life, but that finally obtained it.

" Of the present painting it makes an impression to me, it gets passionate to me, Carbonel, Arturo Creek, by the force that has their pictures. I enchant the Herlinda painting Sanchez Laurel, whom as good géminis I am very versatile, likes of everything, I know I to appreciate and I always am in exhibitions, reading, seeing, all gets passionate to me.

Passion

I discover from girl my enormous sensitivity. Enthusiastic, pinto 10 or 12 hours daily many years ago, it wanted to do it the 24 hours, but I know that that not can. Untiring with desire to print, always, the passion to be with same me and my painting, without telephones that sound and oyendo my music. Very given.

JARE: What do you move you?

CR: The feelings, the light, the nature, the human body. I like the human expressions: the joy, the passion, the tenderness, the pleasure or love or hatred. Something becomes beautiful worthy to paint all this, that already shaped makes vibrate to the human makes him remember, to make pause, to stop the vertigo of our lives. To expose works that make feel, think us and vibrate.

JARE: How do you paint the sky?

CR: Before, in oil, between red black and, jealousy with wrath, much emotion and passion. The love? Tender, pie, with children, even becoming the love of thousand forms. Now pinto it with colors earth, more mature, passional, sensible, more given. The resentment I have not painted it, would be interesting subject, but the forgetfulness blue, is stumped, indefinite, of 1 concrete one to the indefinite thing, the abstract thing. The anger, red. The passivity, from horizontal black, in inverted cone to the range of grays to the target, without history.

Crucible

A time went away to live to Florence, where it studied the gold leaf intensely, the restoration of vitrales, to return to Mexico with new ideas, new colorful, with the tones earth. It returned to the figurative thing with acrylic, material not as noble as the oil, but also with wonderful capacity to elaborate Co. " I feel more act with the present época" .

Perhaps by her restlessness of learning, almost uncontrollable, Cristina Ruiz has obtains do in the somewhat different, attractive Art, generated by the feelings, emo With Arturo Creek perfected in drawing and painting, (98 99). "Todo results in my very personal style that I would define as figurative modern, because he is not figurative a totally realistic one, nor classic, but that I very take to the figure on abstract bottoms desechos". "Trato to use the colors earth, that with one or two tones I obtain a great variety and great possibilities to operate paleta" successfully.

Weman , the prettiest

The human body also has catched Cristina Ruiz and asi explains it: "Me enchants, is worthy of admiration and pinto it like creative force, like the world force, it fascinates to me. Sometimes pinto often more feminine figures, because they are more beautiful, but also the masculine one, that much force gives him to the pictures, question that profit when painting couples".

Nevertheless, when observing the work of Cristina Ruiz we corroborated the saying at the beginning of this delivery: the light is its main element. She herself explains it: "the light I enchant myself. Treatment that in addition to force and feeling my work I have like center light".

The repetitive, inevitable and sometimes vital question cannot be eluded. One hurries, hurries to happen less to beaten questions, " The most satisfactory work and the hoped one.

" The painter smiles without malicia, rather gratificada, by the opportunity to clarify that each picture has the same validity for her.

CR: It passes something to me peculiar, that I have not platicado with my colleagues until today. Each work which I do for me is like a new son, for that reason, I would like neither to sell it nor to come off to me her; he is something very personal, to each one I want it to hoard because each one is very special, reason why felt at the moment for creating it, the music that listened (always I do it), each work evokes wonderful moments to me, I do not have no special one. Nevertheless, in the measurement in which am always advancing is I liking plus the last one.

The mother

Cristina emitted her message. Without specifying she gave it you lie to Freud and its edipiano enigma. Yocasta does not feel, and nor it concerns the perennial sentence to him of the symbiosis mother-son. For that reason, she considers invaluable to speak to him to the overwhelming majority of imprisoned women in the subworld to which she was relegated by itself or by others to the kitchen, the diapers, the care of the children, although she has a great talent and that she must act like family father.

CR: I say to him that they fight by his dreams, that yes are attainable, that do not create that to be put in the kitchen they are worse or better.

Cristina Ruiz has a son of 11 years, Carlos Sebastián, who, is absorbing much sensitivity, much creativity. Me wonder. The impulse to be conscious that the woman must be developed. I am convinced that it includes/understands it, because shows much passion reason why it makes and security of which it can be obtained what one wants.

"When I comment to him what I am going to paint he gets amaze: "ops mother... " That when I finished it seeing she recognizes: " What father, never I thought that you had this result!", then I really feel that I am educating it well. Often I scrimp time, I dedicate more to him to the painting than to him, but I consider that I am very good mother also, we have a relation very pretty this of the painting is leaving him something valuable him; I do not fear to create the unfortunate symbiosis mother-son, has a personality very hard. Very defined.

It is really growing very separate, nevertheless we are very unidos".

JARE: One says that the art, like the knowledge, is elitist. Are you agree?

CR: I believe that never the sufficient thing will become so that the art arrives at all the levels. Nevertheless, I believe that she is not elitist, because the great majority that I know is of low socioeconomic level, are masterful perhaps strangers, but of special perhaps sensitivity, because they lived in the poverty, or very painful situations, or sad.

JARE: Does Cristina Ruiz have problems?

CR: No I don't, thanks to God, a life very to taste, very calm. I have preoccupations of another type, from how it will be left the picture, until how will leave my son in the examinations, thanks to God nothing of care.

JARE: Which are you greatest desires, like life project?

CR: to obtain something in the painting, not what the pretty one, but to leave a track on the art.

JARE: I observe happy woman, satisfied. what it attributes that triumph, that optimism, that love to the life?

CR: it's something that already is engaged in. In some occasion a friend told me: " There is a poor man of you, so many pains that you have had in your life" and she removed from wave and I thought, am I pains? Later I concluded that one talked about the attitude that one has towards the life. That makes the difference.

For her what I had lived from small was a"to hard life " but for me there were normal tests to surpass, that surpassing them make me total much more, fuller, in the permanent fight. It is the attitude as opposed to the life. If one sees it with optimism, if one thinks that dreams can to obtain, but that in addition delivers the one attack so that it is possible, there is the secret" .