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Cristina Iglesias’s exhibition “Monotypes on Copper and Paper” is an enlargement of Hondalea (Marine Abyss), 2021, a site-specific public art work in Spain for which the artist retrofitted an deserted lighthouse off the coast of San Sebastián with a cast-bronze cavern, hydraulic equipment, and 26,715 cubic meters of churning water. Every a singular evocation of ocean sculpting rock, Iglesias’s prints collectively assist to unmoor Hondalea from its distant bodily location by introducing new views, supplies, and processes.
Sharing an Arte Povera sensibility with Giuseppe Penone’s bronze tree and department sculptures, Iglesias’s prints on copper—Cave Examine II, VII, and XIV, all 2022—honor the ephemerality of nature with supplies which are, conversely, stable and secure. The three “Cave Research” are copper plates which have been silk-screened with pictures of a wax mannequin of Hondalea after which spot-treated with acid. The mint-green and turquoise splashes and rivulets wrought by the acid resemble marine erosion, in phrases each of the imagery they create and the corrosive course of by which they had been made. The truth that these compositions learn as water crashing onto rocks at a number of scales is a reminder of the universality of Iglesias’s topic—they might simply as simply be a satellite tv for pc picture of a mountain river as a close-up of a tide pool.
5 works from the “Hondalea Examine” collection, 2021, conjure watery depths in two dimensions. Portray on high of lithographs created from aerial pictures of Hondalea, the artist has added spirals of translucent blue or inexperienced intaglio. The overlaid inks learn as whirlpools but additionally recall Jasper Johns’s targets (particularly the extra fluid ink-on-plastic iterations.) Just like the best way Tacita Dean’s 2013 movie, JG—an homage to Robert Smithson’s Spiral Jetty—untethers an icon of Land artwork from time and area, Iglesias’s monotypes present surprising formal and conceptual associations that assist Hondalea transcend its site-specificity to be skilled from fully new views, each geological and art-historical.
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