ABOUT THE WORK

Alice Guillermo has written that “His imagery, which plays on contrasts and differences, harnesses many cultural resources...” “Jose Tence Ruiz’ artistic discourse is marked by a rich polyphonic texture that operates on several registers...In his iconic field, he plays micro with macro; the details of his paintings proliferate in semiotic swarms in which significations, like the word games in which he revels, are continually fluid and shifting, albeit still within a horizon of meaning,” In mimicking social ceremonies and critiquing them with a driving sense of humor, Tence Ruiz lays bare the pretentious protocols that have been made to appear natural by the patriarchy and class differences. Tence Ruiz’ social angst-ridden crusade has remained consistent throughout the decades, but it is his use of different media — painting and sculpture, even performance art on occasion — which kept his fight alive and kicking, and the public more curious than ever. Jose “Tence” Ruiz views life as full of absurdities. The artist was once quoted: “Have you ever been to a cotillion? Parang ballroom ano? Who can actually have a cotillion in our setting?” For Tence Ruiz, a cotillion is more than just a party of the pompous. It is a gathering of the mighty, in whatever means they got up there. “I find there is a particular class of cotillion goers that is almost absurdly powerful… in power to the detriment of all of us,” he said. In the same vein that the “blu-skreen: (blue screen) in the title comes with comparisons to “homogenized blockbuster cinematic excess, it’s reverse is a blank backdrop that brings unto itself a harsh critique as easily as the high camp of the promised scenarios promised by politicians and their ilk. Thus, women are painted in steampunk baroque fashion. The woman in “Kotillion: Doña Guerrera”, instead of wearing a simple gown, she wears something that resembles a gothic ornament on steroids. Her Marie Antoinette-like pompadoured majesty carries a lute while she seems to float on a flaming ballroom floor. The artist was also once quoted: “Kaya gusto ko ‘yung cotillion eh. I love the idea of the cotillion because it’s so visually fascinating...It’s also so absurd (he whispered).” And with the Kotillion series, Tence says he is only showing the reality in life that he sees. “That’s the way things are, those who are in power, they’re powerful. That’s that. It may not be easy to accept but you have your art to whine about it as John McCain used to say,” he said. Like much hyped fashion models sashaying the ramp with impossibly high heels, knees ready to stumble anytime, his ditsy Doñas dance to a misstepped waltz, the same missteps covered by the garish density of the chunkily bizarre gowns.