Cristina Iglesias belongs to a generation of artists who, in the early 1980s, contributed to a renewed conception of the practice of sculpture, approaching it as an expanded field of material, poetic and symbolic engagement between objects, the viewer and space.

Understanding sculpture as a place and valuing it as a means of organising space and circulation, Iglesias developed a special relationship with architecture and nature from an early age (in particular, with the memory and history of the landscape), appropriating some of its formal, material and conceptual elements. This intersection is explored in this sculpture, in which the steel plates, arranged as if they were window shutters, reveal the rough texture of a cement body whose modelling suggests a tree trunk (even though the materiality denounces its artificiality).

Marked by the coexistence of antagonistic elements (the organic and the inorganic, the interior and the exterior, the visible and the hidden, the real and the illusory), this piece also stands out for the tensions it creates in the act of perceiving three-dimensionality, by imposing a frontal viewpoint on the viewer, suggested both by the symmetrical arrangement of the elements around a centralised opening and by fixing the piece to the wall, a solution that harks back to the traditional means of presenting painting or sculpture integrated into niches.

Through this work, Cristina Iglesias addresses the multiplicity of the idea of space (exterior, objective, and physical; interior, subjective, and mental) and questions the complexity of the perceptual act, themes that will be developed in her later work, culminating in projects in which the exhibition space becomes an integral part of the works: the sculpture extends and merges with the architecture that contains it, together constituting a complex unit endowed with new semantic values.