Cristina Iglesias’s work evolved in the context of European and American sculpture during the 1980s and 1990s, whereby the object of sculpture was expanded into the realm of the installation.

Drawing on a combination of influences that range from film and the way it uses montage, to architecture and literature, Iglesias’s architectural installations and invented spaces are defined by an acute sense of place and time. She is interested in the manipulation of perception and artifice. Iglesias’s Tilted Hanging Ceiling, a series of works resembling gigantic finials, reverses the order of perception, while her Vegetal Passages, with its fiberglass walls covered with bamboo, eucalyptus, and decaying leaves, are actually cast from molds that can be endlessly copied. The navigation of space and time is a compositional factor in her work; as in any act of seeing and experiencing sculpture, her installations alternate between secular and sacred references.