When the Ruizes are contemplated to the paintings of Cristina, in addition to the surprise, very pleasing surprise that receives the spectator, arises, immediately, a series of questions.

It is necessary to say that it shapes flowers, but noncommon and you comment, but magicians who never are or will be thus in the surrounding thing. They are flowers that explode. They are explosive premonitions, they are the widened poetry and algebra inexplicable. They are desflorates flowers and they are demoniacs flowers surrounded in the curiosity and desire to investigate to what extent something alive, transferring the igneous layers of suns in conjunction, is reduced to lights of fog and nebulas in spiral.

It paints and she is interested in the dance. Its vision of the dionisíaco is declared form to show the apollonian thing in the beauty of the form, del sensual color, in the eroticism and the passion that subjugates.

With its plastic works sample that the ways of the art are many more than the known ones, ignored or not tried, safe by that aged movement that were the impresionismo or by different subjectivities.

Its race was defined in France, when it participated in artistic groups supported to reconstruct vitrales in churches and abbeys. Inner the peace, the calm, but, and of essence, also sensual is their paintings of small horse, made already in Mexico to their return in 1986. Its mental clarity takes it to experience with the being in intermediate stages between the melancholy and the explosion of the beautiful thing. Cristina Ruiz studies diverse techniques and the way as she can decipher the enigmas of the outer expression.

It seems more pertinent to him to arrive at the essence of the existence and the meaning that to remain in epidermis luxurious and exquisite of bodies of overwhelming beings and doncellas within green mieses, forests, pale brass foils.

Its work realistic is invented, it is allegory of which perhaps can exist, but that it does not exist in the real reality. Everything what it paints is in the other reality, that one suggested by Octavio Paz and Xavier Villaurrutia.

In fact, movable and immovable light, life, flowers, dancers, lost women in the forests, atmospheres, natures alive and deads, ideas, solutions and resolutions in the plastic art are more abstractions of the mind that pictorial realities. Ideas are turning around other ideas. Everything is abstract in the kingdom of the art, until the most realistic painting, as it could be the faithful and hyperreal copy of a hand, a flower or a destiny.

Cristina Ruiz takes the psychic sinking, sadness, states and their respective conclusions towards limits of sensitivity. She becomes her own multiple self-portrait, by means of a series of variants that the same come to be.

I think that more than romantic, its work is nostalgic. The great subjects, you develop épicas, the eróticas scenes, the heroes and heroins, real or fictitious, do not exist, but they engrandecen and they make lucimiento in pre rafaelistas, the órficos, the properly romantic ones like Ingres and Delacroix, in neoclásic and, finally, those of the surrealismo that were the last ones in trying to take to the dream, the ensoñación, the failed acts insolvent, the imagination, the invention lime, to the explosions of the heart to the human being.

Cristina Ruiz goes ahead towards discovering ways, courses, merits, treating to reach the individuality, that aesthetic form or formation that finds it where it is. Its technical oil on fabric is purified. The bottom, although is of the same color that the space, that the painted essence, is different. Their subjects are to eter to us subjects of the beauty and everything what it surrounds to us: flowers, fruits, thoughts, espiritualidad, animism, the hermosura in sensorial and the feeling of a beautiful generous and different soul.

She is already a professional artist, it is only necessary to make it with important samples and plans to short and distant future effective.

Hers drawing is hardly perceivable but he is impeccable. Like the handling of the forms, certain perspective and its method, the result is symptom of a greatness that is said in smaller tone and is most valuable. Cristina Ruiz: painter really.