wow, I really like his work and enjoyed your links.
 

love the use of figurative and abstract. this is a direction that I have been working towards for a long time, and Paul hit it head on.
 

Yeah, the thing I like about his paintings is that they look like paintings. Which sounds silly, but a lot of paintings try and look like photographs or sculptures or drawings.
 

Yep Dion you said what I've been wanting to say: They look like paintings. I can see where the de Kooning influence comes in a bit in some of Ruiz's work. Nice stuff, eh.
 

Who said painting and drawing was dead? Ruiz's paintings are fresh and lively and speak quickly and directly to the soul. Better than a half baked can of beans tipped on the gallery floor with a 200 page essay attached.
 

Sorry to sound like a grump, but I can’t agree with what appears to be a consensus. Looks more like an admirable student who found a formula. The page of paintings on his website displays twenty-eight reproductions of what appears to be the same painting (I’m not referring to the demo page). I’m not so sure that paintings dangerously resembling the work of Leroy Neiman could be said to be expressive. I too would not care for a half baked can of beans accompanied by a two hundred page essay, but I do not adhere to the notion that gesture equals emotion. Painters as disparate as Franz Kline and J.S. Sargent used gesture to great effect, but I would characterize the results as simply beautiful rather than emotive. The comparison to Auerbach is rather superficial and in the end emphasizes the pedestrian qualities I see here. The word ‘emotion’ gets used perhaps more than it should. Perhaps someone can explain to me which emotions are being evoked here. Contrary to what the above comments may sound like, I am open to guidance.
 

Anon, I got a little excited when you said theyre basically copies of Leroy Neiman, as the name didnt ring a bell. But I was dissapointed when I saw his work is nothing like that of Ruiz.

They both use paint, but that's where I saw the similarities end.

I also think it's hard not to use the word "emotion" when it comes to talking about most art. All but the most superficial artists probably use emotion everytime they stand in front of the easel.

So I'm probably talking more about the emotion used to create the painting, rather than the emotion it provokes in the viewer, as the viewer may not always pick up on it.

For example, Rothko might have been crying or close to breaking down in the process of doing a painting, but the viewer may not pick up on the emotion used to create it. Yet a different viewer might break down in tears in front of the finished painting.

I'm not defending the work of Ruiz, as I think any good art should stand up for itself. I would like to continue using the "emotion" word when it comes to art though ;-)

The great thing about art is that we can all have different opinions and still be right.

Dion
 

Thanks to everyone for taking the time to comment on my work.. candid and well considered feedback is always welcome as this too informs the art making process.

Anon, thanks for your comments. I am glad that at least my buyers were able to detect some differences in size, format, scale, colour and composition enough to bring themselves to part with money for my work, it is a humbling thing to share a part of yourself and have others value it enough to purchase it.

Just to clarify, my painting never set out to invoke a uniform set of emotions, and the range of thoughts or feelings which others experience or confront when seeing my work in person is an essential part of lending the work meaning. My figures are deliberately asexual or sexually ambiguous at times in order to enable this process.

And of course some times I fail miserably in what I set out to achieve in paint.

You are right though. Perhaps i need to drop whatever formula has crept in and consider observing the world and people around me more closely, meditate on it and then seek to execute some physical and aesthetic response to it that is organic, and full of the courage to change...I will keep working on that, thanks.
PR
 

Firstly, I really tried to see the resemblance between Leroy Neiman and Paul Ruiz but I just could not see it.

Secondly, work of any artist executed in a particular period will definitely have similar characteristics, this has nothing to do with finding a formula that works..

On the other hand, though I understand that an artist might have his preferred subject matter, it would be interesting to see works by the same artist exploring other subjects.
 

I can easily admit that my generalization was rather broad, and as I wrote my comment it seemed the best way to make my point. It was not my intention to simply insult an artist and his admirers. Perhaps the Leroy Neiman comment was taking things a bit too far; loose, painterly, gestural marks are indeed highly personal. Regardless of my opinion, to Mr. Ruiz I should say that your comments about observing and subsequently meditating on the world around you to find an honest response is something I applaud.

Having someone part with money in exchange for something that reflects much of who you are, indicating their connection with your vision is indeed humbling. I wish you many of these humbling experiences.
 

My comment was a direct response to seeing the art work before me ,never having seen Ruiz,s work before I appreciated the immediate impact it had on me. As for creating a long term interest remains to be seen.
Impact and depth are two different things. Ruiz's work didn't speak as quickly to my mind, but I am fascinated by his technique. But too much of the same thing can prove a bit weary. It's like morphing in movies,it became very outdated very quickly. But full marks Paul for creating some work that I feel jealous off. Much better than baked beans.
 

Interview with Paul Ruiz that you might want to check out.

http://www.myartspace.com/blog/2008/08/art-space-talk-paul-ruiz.html