CRISTINA IGLESIAS

At the center of the exhibition is ‘Dome’ (2026), Iglesias’s newest immersive work, following ‘AuroraBorealis Star Dome’ (2026), a major public commission she recently completed for the Princess EstelleSculpture Park in Stockholm, Sweden. Measuring five meters (16 feet) across, ‘Dome’ consists ofbranch-like cast-aluminum arms that gradually merge into a geometric glass cupola. At its base,the aluminum structure bears the imprints of roots, living organisms and imagined biological forms;these patterns progressively transition into a crystalline geometry as the sculpture ascends, retainingthe fractal patterns found in the natural world. Responding to the shifting daylight from the gallery’ssoaring fifth-floor skylight, the glass elements within the work cast an array of shimmering, coloredbeams across the room, altering the surrounding space as the light moves throughout the day.

Four wall-mounted sculptures, each titled ‘Possible Matter’ (2026), unite elements from two significantbodies of Iglesias’s work: the organic, cast-aluminum volumes of her ‘Entwined’ series, initiated in2018 and concentrated on rhizomatic growth, and the explorations of erosion in her ‘Littoral’ works,developed since 2022 from patterns found along the Basque shoreline. The intricate, undulating formsof the new sculptures, cast in aluminum and transparent resin and painted to match the surroundingwalls, will appear to emerge from the architecture itself, their surfaces and openings evoking processesof erosion, accumulation and transformation over vast expanses of time. Both primordial and visionary,they recall ancient rock formations shaped over millennia and conjure speculative landscapes,collapsing distinctions between the distant past and an imagined future.

Reflecting on the evolution of these ideas in her recent work, Iglesias notes, ‘my latest works dealmore with transformation. You can see how matter transforms from very abstract into more geometricand crystalline forms. Nature has a tendency to organize itself. But you also have a sense of it being anon-organized system, in ways that cannot be understood.’

The works in ‘Possible Matter’ bring Iglesias’s enduring exploration of the relationship betweenlandscape and architecture, and our place within it, into sharp focus. Drawing on patterns foundin rocks, water and vegetation, she has developed a singular approach to casting, assembling andreworking imprints and textures from nature, to create fantastical new forms and invented environments.While these works evoke timescales far beyond human experience, their physical presence anchorsus in the here and now, drawing our attention to the spaces we inhabit. Her engagement with natureis inseparable from her highly intuitive approach to material, handling metal as a painter might workwith oils––continually manipulating, refining and transforming the material into powerful, sensual andprovocative works of art.

Courtesy Hauser & Wirth.