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October 2018
Vol. 37 No. 8

A publication of the
International Sculpture Center
*Read the full article online!
Place As Threshold: A Conversation with Cristina Iglesias
by Jan Garden Castro
The Ionosphere (A Place of Silent Storms), 2017.
Carbon fiber, cables, and shadow, view of work
at the Norman Foster Foundation, Madrid.Fluidity is the key to Cristina Iglesias's work. Her monumental public projects, whether involving the flow of water, the play of shadows, or the ritualized movements of bronze doors, lead viewers into places where architecture morphs into a hybrid of the natural and imaginative worlds. In Forgotten Streams (2017), a river flowing through a bronze bed creates a plaza as it emerges from its course "beneath" the Bloomberg Center in London. Tres Aguas (2014) in Toledo, Spain, charts a two-hour pilgrimage to three symbolic locations, each one building on the next through time and memory. And at Centro Botín, in Santander, Spain, the multi-part From the Underground (2017) encircles a Renzo Piano building with water. Iglesias says that being an artist is an obsession you cannot escape; her works make that voyage of discovery available to everyone.

The Ionosphere (A Place of Silent Storms), 2017. Carbon fiber, cables, and shadow, view of work at the Norman Foster Foundation, Madrid.

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