The act of burning a surface involves causing accidents, forms, movements. Like a skin, paper reacts to the violence of fire: folds, contortions nnd colours reveal an enigmatic form of writing.
As time passes our memory may occasionally attempt to read it. Mutation, pain, sensuality; the transparent maintains links with the opaque, the superficial is closely tied to the most profound.
Biography and times immemorial unusually cross each other’s path in their encounter with the materials. The essential elements - water, fire, air, earth - interact, are enhanced, are cancelled out, build and destroy. The sediments, remains and origin, are the pulse of the living.
My interest lies in the living, in what is concealed in sediments, in the immobility of stone and its tracks, in the hard marks left by fire, in the rolling impressions of water, like texts waiting to be deciphered.
Lace of Fire
Argentinian Consulate Gallery, NY
Violet coral in a sea of mist
The work of Beatriz Ruiz embodies the intensity of the universe. Her exhibition opens with a white waterfall in which the metaphor of nature affords her works poetic form.
These landscapes are created with the trace of fire. With laborious but magical action, the artist modifies the skin of the tracing, creating a fabric, fiery lace, filigree as delicate as an atmospheric allegory of the space of what is natural.
Forests and depths are born from the morphologies of the pieces; drawings, sculptures and engravings join forces to create an atmosphere of mystery and beauty.
The paper is skin, matter and sculptural spatiality.
In her sculpture of pleats the artist speaks of the molecular expansions of nature, in which fractals and mathematical growths visually proliferate in white purity.
Water is born in the lithographic engravings; scenes of the seabed emerge from the precision of the drawing; seaweed, watery movements and hints of violet or gold offer the sensual pleasure of all that is alive. A feminine energy in her works seduces. Sensual openings and transparencies resignify the cuts and create veiled effects over the fiery action. And when standing in the centre of the exhibition, the strength of the elements of life are there with us. We are reborn from the centre of the fire only to sink into the depths of the sea together with the seaweed and the flowers of coral.
Argentinian Consulate Gallery, NY
Monochrome that includes all colours. Labyrinthine itineraries, as acute as angles, but without a single straight line. Mandalas that draw us into a cartography in which it is possible to recognise who one is: complexity; the question concerning peacefulness; the question concerning the centre and its colour.
Abundance of intricacies, countless comings and goings that form a never-ending, never-beginning whole, which can be restarted at any point.
A waterfall, but one of paper. Layers upon layers: another itinerary that has to be followed to the very origin. Bubbles, achieved with fire. A paint brush of fire that draws in black, and plays with the limit between bubble and hole. Fusion and the blurring of the boundaries between the elements. Front-back, light-shadow; everything counts. A fossilised wall: incrusted shells that have survived, victorious in gold.
Sediment: that which has settled on the bottom, that which had the sufficient force of gravity to persist.
Sediment: the strong, the serious, the white, the light.This exhibition by Beatriz Ruiz - just like all her work - is precisely that, a broderie, an aesthetic of resistance.
Surfaces of Memory
Beatriz Ruiz's work creates a body, a beautiful skin of metal flakes, an ornament which is at the same time medieval, Spanish and ancient, and which portrays a strange pain born in the awareness of Absence.
Her sculptures and objects recall, in one dimension, a tragic social status in Argentina, where the bodies of the dissapeared loved ones “desaparecidos”) lacked materiality. Her work rescues those bodies and restores matter.
She beautifies the wound, like iridescent scales of sharp tacks.
Beatriz creates a shield of ornaments, and she alchemically transmutes the losses into sacred relics for the present time.
After this process, the river of life is born. Red landscapes of watercolor, and from the dazzling monochrome of metal emerges the power of water, now as a source of life.
From metal to water, her work as a bio-social sculpture gives way to the river and the sky. Like the sound of mantras, every spike and every brushstroke places a heartbeat, the pulse of the living, the beauty of the untamed that shines in every artistic gesture.