Beatriz Ruibal: On Time and Space Javier Rubio Nomblot

Beatriz Ruibal began to come into her own in the early years of this decade. A photographer with a remarkable personality, Ruibal has travelled halfway round the world on an apparent quest to find the impossible: the presence, which she knows how to make tangible with her camera, of the past in the present, the endurance of the eternal, the disappearance of time and, in large part, the rules that govern space. In fact, the majority of her photographs show landscapes that are breathtaking in their beauty, grandeur and the solitude and silence they emanate, but which also depict the subtle alterations the artist has made to them: multiplying vanishing points, repeating certain areas, changing the vantage point in each of the images that make up her impressive panoramas and juxtaposing different images are just some of the other devices used to construct that “geometry of possible worlds”. In the mountains and islands of Bolivia, Patagonia, the Amazon, the glaciers of Chile and Argentina and the plains of Castile, her camera has pursued the infinite, that place where they world seems to end or fold back upon itself. Consequently, each photograph is the story of a series of flowing lines, a question put to nature.

Beatriz Ruibal made her first big splash in 1993 with the exhibition Crisis, cultura, Crisis at the Fine Arts Circle, where most of her shows have been held. Her early work was centred on the body and the ordinary, and in 1995—the year she won an honorary mention at the 1st Havana Photography Biennial—she discovered landscapes, which would hold her attention over the next two years. The exhibition now on view is the result of that work in the distant lands of Spanish America.

(El Punto de las Artes, 1998)

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