The work of Cristina Iglesias (San Sebastián, 1956) is linked to the Botín Center since its creation with a piece formed by four wells and a pond, From the underground, They serve as invisible roots to fuse the Pereda Gardens with the construction of Renzo Piano. Placed at ground level and formed by stone, steel and water in movement, they advance the entrance to a world of fiction in which the fantastic merges with the idea of search and meditation that characterizes the work of the artist and that serves as a thread driver at the exhibition Cristina Iglesias: Entreespacios, which can be seen until March 3. There are 22 pieces chosen by Iglesias and the curator, Vicente Todolí, president of the Advisory Board of Plastic Arts of the Botín Foundation. The show has the collaboration of La Caixa.
Without chronological order, the pieces have been placed to highlight the cross references between them. The mystery of the wells of the street connects with the interior through a work entitled Green pavilion The spectator is invited to sit inside the glass enclosure and, in silence, let himself be carried away by the sound of a water whose speed is changing in intensity.
The trip – or the wandering, as Cristina Iglesias defines it – continues through many of her most emblematic and well-known pieces, coming from private collections or from the artist's own collections. There are Vegetable rooms, natural caves of fantastic vegetation made with resin, bronze powder and fiberglass. In the vicinity is one of its famous suspended ceilings, Passage I (2002), woven with esparto, which, as an organic ceiling, affects the omnipresent importance of nature in the whole work of Iglesias.
The bars or lattices that frame the void and play with light or shadows as essential materials offer the viewer a foray into the interior of the work with the feeling of being the only inhabitant of a world stalked by the surprises of the imagination. Or the unknown, which the artist values as much as the literature that nourishes some of her most emblematic works.
When asked Cristina Iglesias about the elements that have remained present in his work over the years, responds that all works create a fiction that can be surrounded or transferred as places dreamed or invented. "I see that there is a permanent reference to the natural, even though mine are invented natural spaces. There is always the idea of searching, of losing oneself or being surrounded. "
The artist explains that the materials she uses (aluminum, glass, copper dust, sweet iron) are a constant in her work. He chooses them according to what each piece requires and mixes them with water, shadows and light. "Everything helps me to reflect on sculpture and its possibilities. Mine are unique pieces that are executed in the workshop on the outskirts of Madrid and now also in Eibar, in the Basque Country. " The role of water, with all its resonances of the Arab culture, is for the artist an invitation to meditation. "Like all of us, I have the weight of other cultures even if I do not think about them explicitly when I start working. If the sound of the passage of water produces the enjoyment of music, it satisfies me, but I would like to compose music with water "
The most recent piece of Cristina Iglesias' exhibition at the Botín Center in Santander is titled Growth I (2018), and is a cylindrical composition made with aluminum and glass. It is located in front of the sea. When on a dazzling sunny day like yesterday the light cast by the yellow crystal makes the imaginary resin melt with the blue of the sea, achieving a disturbing fusion.