“I grew up in the magical realist tradition, not only in terms of literature and painting but as a school of thought and culture,” Christian Ruiz Berman says. Endlessly interested in “the surreal nature of being stuck between two worlds,” the Mexican artist channels his experiences of immigration and adapting to new environments—including his current home in upstate New York—through his painting practice.For Ruiz Berman, magical realism is a way to translate his realities into dense, surreal compositions that become a constellation of references and memories. His influences are broad, from Mexican muralist traditions and Latin American folk art to Taoism and Buddhism to poetry and Japanese printmaking, all of which converge in his work. “God giving god to god” (2023), acrylic on panel, 30 x 40 inchesThe resulting paintings become a place to encounter unexpected pairings and mystical associations free of hierarchies. Layering, in Ruiz Berman’s work, isn’t to privilege the objects and textures of the foreground but a manner of depicting the relationships between all elements.“Ultimately, my work very much reflects the collision of Eastern and Latin American culture, art, (and) thought, as much as it does my personal amalgamation of Mexico and the U.S.,” he tells Colossal. “The existence of high intentionality and care, but also playfulness and strangeness, is something that has always made me feel connected to East Asian culture, and particularly to places like Japan and Tibet.”Although Ruiz Berman offers many entry points to a single painting, his compositions provide an exacting path, however labyrinthine it might be. The eager raccoons in “God giving god to god” might catch the viewer’s eye first, for example, but they soon lead to the sleek lilies they offer up and the Mesoamerican stone statue that’s the object of their reverence. Another seated figure hovers to their left, against woodgrain, granite, and vibrant, swirling agate. “Mixcoatl Merkaba” (2025), acrylic on panel, 16 x 20 inchesCombined with clean lines and exacting geometric shapes, this melange of symbols is undeniably eclectic and in service of a larger narrative. He shares:I examine the notion that each person, animal, and object is not only an essential component of the present moment but an entangled element in a greater apparatus of constant change and adaptation…Magic and surprise always happen as a result of shared experience, cross-cultural inspiration, and the subversion of established tropes and identities. I paint because I am fascinated by the way it can draw from the endless diversity and inherent tension of life’s web.Animals are often incorporated as “stewards of human culture,” the artist says. For example, Mesoamerican mythology tends to position jaguars as revered protectors able to move between worlds: those of the trees and water, day and night, and sites of the living and dead. Birds, too, are often seen as messengers and guides. Depicting these creatures not in their natural habitats but embedded in unusual compositions, Ruiz Berman seeks to recontextualize their meanings and expand the narratives each has come to symbolize.If you’re in Miami, you can see some of Ruiz Berman’s work this summer at Mindy Solomon Gallery. Next spring, he will show at Art Basel Hong Kong with Proyectos Monclov and Harper’s Gallery in New York. Until then, head to his website and Instagram for more.“Ursa Gevurah” (2025), acrylic on panel, 50 x 60 inches“Grackles of grace” (2023), acrylic on panel, 18 x 24 inches“Xacozelotl oz lat” (2025), acrylic on panel, 16 x 20 inches“Life cycle” (2024), acrylic on panel, 24 x 36 inches“Honeycreeper Harbingers” (2024), acrylic on panels, 15 x 11 inchesDo stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Magical Realism Permeates Christian Ruiz Berman’s Labyrinthine Paintings appeared first on Colossal.