Published by Turner. Text by Beatriz Colomina, James Lingwood, Marina Warner.
This publication documents the three-piece installation Tres Aguas by Basque sculptor Cristina Iglesias (born 1956) in Toledo, Spain. Strategically placed next to the historic water tower, the town square and the convent of Santa Clara, Iglesias’ creations mirror the movement of water throughout the city.
In the waters surrounding the Pacific island of Espiritu Santo, Spanish sculptor Cristina Iglesias (born 1956) is installing an underwater labyrinth. Comprised of three submerged cement rooms, it is intended to be encrusted and inhabited by various forms of marine life. Iglesias’ Matador Artist’s Portfolio presents 18 preliminary color drawings done for this ambitious project.
Published by Ediciones Polígrafa. Edited by Gloria Moure. Text by Patricia Falguičres. Photographs by Gabriele Basilico.
Simultaneously drawing on both Arte Povera and the Baroque, Spanish artist Cristina Iglesias (born 1956) belongs to a generation of sculptors who have pushed sculpture beyond the model of the discrete object, merging it with its architectural environment. Iglesias' works mimic parts of buildings--roofs, walls, corners--and deploy bas-relief, tapestry and large-format silkscreen on silk and copper. This volume surveys her work to date.
Published by Walther König, Köln. Foreword by Kasper König. Text by Ulrich Wilmes.
New work by the Spanish sculptor and installation artist known for her large-scale systems of enclosed passageways made from interconnected and organic-feeling metal lattices. Represented in New York by Marion Goodman Gallery, Iglesias has had one-person shows at such major international venues as the Guggenheim Museum, New York.
Published by Poligrafa. Edited by Iwona Blazwick. Essays by Richard Etlin, Michael Newman and Michael Tarantino.
Working towards the melding of her artistic work with architecture, Cristina Iglesias has long been attracted to spaces within spaces. The sheer scale of her sculptures invites viewers to walk around and occasionally through her pieces. On a more microscopic level, Iglesias has remained fascinated by details, and by data that deliberately distracts or skews the perception of abstract forms. Rich surfaces, such as cast impressions of local and exotic flora, become progressively all-consuming as the viewer approaches them. This publication is the first mongraph on the artist, and includes a consideration of work done in collaboration with architects Abalos & Herreros and Paul Robbrech.