RUIZ ORTEGA

His subjects are diversified, mostly still life, compositions, human figure, and landscapes. All finding a creative image in his exceptional representation.

Beginning with concrete realities, he seeks those other truths resulting from the passionate deliverance he devotes to them to reach the suggestion in his process allowing him to become creative.

The art critic Josep M. Cadena writes the following lines, referring to the present exhibition:

In my opinion, Manuel Ruiz Ortega, today and here, in the environment that surrounds us, is the most subtle figurative painter of all figurative artists of our time. I would add that more than the landscape and objects he depicts, so that we have no problems to identify an open space or an in-depth moment he also paints the air shifting the leaves in the tree or the warm atmosphere of a friendly meeting before a couple of cups and a kettle. He emphasizes the shapes, always in a pleasant way, by loving what he sees and, even more so, the feelings arising from a sweet moment he always knows how to find out.

Once –perhaps ten years ago – I wrote about him that he sort of hinted what was definitive because he always knew how to stop at the right moment, when he was applying the last stroke. Now, before his more recent paintings, which he is exhibiting at the Rusiñol Gallery, in Sant Cugat, I say that again. The time elapsed is like a second of eternity, if you allow me to say so. In other words, it is like the nightingale's song within the dense woods of life: light and continuous, natural and like the son of chance, but so well measured in its beauty that it can only be the outcome of a wonderful working capacity. The nightingale sings –I think- without even knowing he is supposed to do it but Ruiz Ortega –I believe- paints like in this way for his culture and sensibility do not allow him to do otherwise. In any case, in both cases, we are the winners.

For his work the painter takes advantage of some very simple Chinese wood trays. The Oriental know-how, attained through centuries of experience, concurs very much with Ruiz Ortega's creative intimacy. The reunion is happy and the choice quite visible. The shapes of oriental crafts are never imposed, but they provide a careful service to every painting which belongs here and refers to what we have closer. There is not, I must insist, anything oriental, and yet there is harmony. What look to us far away comes closer, and what we have so near travels through the vast space of our thoughts so that the embrace it wants to give fructifies as usual with the good art.

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