Cristina Marques’ work belongs to the specific realm of sculpture. They are erected within definite themes that matter to their author in her fundamental research. One’s reaction to their colours, to their forcefulness or their grace will depend upon our culture, our relationship to art and our meekness towards suggestion. The setting and circumstances shall play their part and one shall follow the sculpture on one’s own terms.
Do these works purpose to establish a formal decision regarding abstract sculpture?
For one interested in art, distinguishing between abstraction and figuration seems vain. The mythical and religious findings of the Asian, African and Pre-Columbian civilizations have shown such considerations of classification to be obsolete. The art of Cristina Marques is too invested within a logic of form construction for there to be any such analysis. Her sense of proportion, the measured, balanced nature of her vision, entice the sculptor to present models the evidence of which is in itself programmatic.
As if by technical necessity, Cristina Marques understood the benefits of a supple medium, alternatively glossy and transparent or opaque, that always remains malleable, to be shaped at will or left to bend under its own weight. One can also take advantage of its glistening qualities.
Bubbles, inclusions and chemical accidents inherent to its formula make Plexiglas the medium of choice for expressing the vastness of the artist’s mental scape. The viewer is faced with a novel terrain in which the sculptor uses chemical reactions and colourful findings flaming up the unitary disposition of the casting.
In her modernity, Cristina Marques always remains interested in classicism and the golden section, dispensing rhythmic architectures, asserting verticals or giving in to spiralling volutes. In one word – a free, multifaceted and energetic universe, never lacking poetry, and subtly perceptible to those who know how to look for it.
— Michel Gaudet – September 2012
translated by Odyssée Bouvyer/La Condamine