In Ruiz & Polo's The Boy's Release II, the composition comprises a triptych of brightly coloured, graphic and opaque images set against a larger blue plane. Within the triptych, a cameo silhouette portrait, a dog behind a sign reading "Library" and a green car and smiley face allude to a symbolic system found throughout the collaborators' works. The dog is especially omnipresent, perhaps functioning as a signifier as a co-participant for the viewer with respect to the works.
D.Ruiz is a Jungian specialist; a common thread can be traced between the use of symbolic and visual language and the Jungian concept of archetypes. This common thread is even more suggestive in Ruiz and Polo's use of repetition: what may seem random is emphasised and thus suggests significance. The image of the dog is an example of this repetition, or the use of means of transport (motorbikes, cars, helicopters), hurtling through space or gliding. The opacity and flatness in his use of colour and texture hint at a directness of communication, which is then interrupted by the use of photography. In his digitally composed drawings and paintings, depth and shading are replaced by colour; colour is where and how his visual information is formed. The photography that is incorporated into the compositions is a very marked stylistic departure. The images in the photography are high contrast, black and white or monochrome, and punctuate the visual field in different ways, varying between interacting with the elements of the composition, serving as backdrops or as part of the settings for the micro-narrative of the works.
In The Boy's Release and The Boy's Release II, both made in 2020, the use of photography exemplifies these variants of engagement. In each work, the image of a young boy, depicted as a man, folds an arm behind his head; the portrait is cropped down to the jaw and armpit. The image functions in The Boy's Release like a billboard or a poster on a beach, with the title 'PINK HOUSE' above it. The elements of the composition abstractly suggest a beach in a seaside holiday memory: next to the billboard is a roller coaster, and behind it, a building reminiscent of institutional architecture stands against a blue plane, signifying the ocean. This blue plane is repeated in The Boy's Release II, functioning as a background in a darker tone. Here, the photographic image is enlarged and becomes a focal point.