Much has happened in the blog since the first post dedicated to Cristina Iglesias, in fact it was the second I published. The new discoveries in her work have allowed me to rediscover this important sculptor and include her in the Expressan Sculptors section.
I am sure that if we ask for the name of a Spanish sculptor, one of the first names that comes to light is Cristina Iglesias. This architectural sculptor has a perfect command of space and shows confidence when it comes to building imagined places that relate as well to nature as to the interior of a museum.
Not only the staging but also the language and the texture of her works are unmistakable. From the cages reminiscent of Arab architecture to those clad in copper leaves and stems, which go from forming walls and doors to constituting streams and fountains. All this without forgetting his first works with fibre cement and alabaster, a group to which his latest works on display belong.
Cristina Iglesias en el caac (sevilla)
cristina iglesias en el cac (málaga)
These last works to which I refer are two sculptures arranged on the walls of two different rooms within the exhibition “An Upper Dimension”, which is housed in the Museo Patio Herreriano in Valladolid.
In the first piece, made in 1990, he works with the qualities of different materials and how they face the light, this being another material. On the other hand, the second piece, made in 1985, fits in because of the subtlety of the balance of its forms, as if it were a branch in the process of growth in a room where the discourse of nature is the origin and residue.
Cristina Iglesias en el Museo Patio Herreriano (valladolid)
cristina iglesias en el museo patio herreriano (valladolid)
In most of her work, Cristina Iglesias shows herself to be distant when it comes to communicating what she means by a particular work. Beyond working with the transformation of light, the construction of imagined places or the use of water to show the passage of time, this artist leaves each viewer freedom of interpretation.
Hers is an extraordinary career at the head of large public projects, where different themes and materials merge, giving rise to a way of working in which different support professionals are brought together to form a team with the artist.
Cristina Iglesias’ installation sculpture is evolving, not only in forms and languages, but also because she builds places that can be touched and walked around, as we did with her cages at the Arco Fair, her walls at the CAAC or her fountains installed at the Bombas Gens Centre. Because the artist wants to bring her way of understanding sculpture closer to the public so that we can interact with her works, inducing us to look more slowly and live an experience.
Without a doubt, there will be many other pieces that will be incorporated into new artistic routes. It is a real luxury to have the place builder, Cristina Iglesias, as Expressan Sculptor.
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