~folus~ rethinks and condenses the shadows of previous pieces, leaving its imprint on the wall. Through a drawing that intertwines like the wisps of smoke left behind by an extinct flame, the forms become phantasmagorias of something that struggles to remain. Through fire and heat as agents that destroy, draw and mold, Spinelli generates a warm ruin, a burned trail, an indeterminate landscape.

"The way in which culture participates in the industrial processes of natural extractivism is the subject of M1 (ajuar de mouras) by Cristina Spinelli. The restoration of a palace decoration in Madrid allows her to apply 3D printing techniques in plastics to draw a parallel between the seriation of the ornamental artifice and transgenic production, taking corn as a clear example". - Tania Pardo and Manuel Segade

"In these pieces by Cristina Spinelli, objects are condensed in a sort of watery surfaces: patterns of flower petals, dried orchids, fragments of architectural ornamental codes, tangles of threads that are the remains of drawings made with a 3D pen, errors of three-dimensional impressions of cobs made with plastics made of fermented corn, solidified sugars, dried grains also made of corn...

They are all fragments of calligraphic, digital or genetic codes, pieces of language lexicon, small unconnected glitches like the glichts that corrupt the composition of an image on the screen. The limits between the real and the virtual are diluted and mold a new materiality, neither totally natural nor totally artificial. Questioning what we perceive makes us ask ourselves how it is shaped, what is the information of data and matter, now decomposed and palpable". - Marta Ramos Yzquierdo

Taking as a reference architectural plant details and produced in 3D printing plastic materials with freehand drawing on them, these pieces show their artificial character and reflect on the idea of perfection associated with organic elements that cannot be so given their nature, but have been altered by humans to be so. A clear example is corn, an element over-engineered today by the transgenic industry and which is also used to produce the plastic used by 3D printing machines. In this way, through reproduction errors and the formal characteristics of the material itself, the evidence of artifice, the alienated representation of the natural and the passage from the traditional to the industrial is explored.

These pieces make an approach to the conflict between the natural and the artificial, to the idea of reproducibility and seriation and other industrial processes in relation to nature and its representation. Through the action of translating organic forms into synthetic materials -which in turn come from organic substances- the idea of material sincerity is reflected upon, evidencing the formal homogenization of industrial processes, in a sort of subverting their hegemonic utility.

In Overlapping resonances Cristina Spinelli has worked with recycled wax and fire as elements to reflect on the forms that the materials occupy, investigating their representational power and the new relationships that they summon by configuring themselves in these sculptures. There is something liturgical in the use of wax to describe new volumes and encapsulate in these materials such as nacre or candy. Coincidentally all of them need to have been fluid to articulate what they are now: wax and plaster to be worked, just as liquid caramel impregnates the violet to frost it in sugar, or the nacre that passes from mucous to become a shell. What once flowed to embrace and sustain other forms now petrifies them as salts do the walls of a grotto. It is difficult to determine whether the figures emerge or disappear in the material, which lets us intuit these vegetal elements, dragging stories of their past. 

Cristina Spinelli has worked with recycled wax and fire as elements to reflect on the forms occupied by the materials, inquiring into their representational power and the new relationships they summon by configuring themselves in these sculptures. There is something liturgical in the use of wax to describe new volumes and encapsulate in these materials such as nacre or candy. Coincidentally, all of them need to have been fluid to articulate themselves into what they are now: wax and plaster to be worked, just as liquid caramel impregnates the violet to frost it in sugar, or the nacre that passes from mucous to become a shell. What once flowed to embrace and sustain other forms now petrifies them as salts do the walls of a grotto. It is difficult to determine whether the figures emerge or disappear in the material, which lets us intuit these vegetal elements, dragging stories of their past.

~funus~ rethinks and condenses the shadows of previous pieces, leaving its imprint on the wall. Through a drawing that intertwines like the wisps of smoke left behind by an extinct flame, the forms become phantasmagorias of something that struggles to remain. Through fire and heat as agents that destroy, draw and mold, Spinelli generates a warm ruin, a burned trail, an indeterminate landscape.

This piece rethinks and condenses the shadows of M? rosas (ajuar de mouras), leaving its imprint on the wall. Through a drawing that is intertwined like the wisps of smoke left behind by an extinguished flame, the forms become phantasmagorias of something that struggles to remain. Through fire and heat as agents that destroy, draw and mold, ~fulli~ generates a tempered ruin, a burnt trace, an indeterminate landscape.

"Cristina Spinelli's work investigates the relationship between text and image in the field of digital culture. This series of sculptural pieces materializes the guts of the images, playing with the visible and the invisible, the intelligible and the illegible that conditions their production and the access to them in this predominant scenario of digital technologies. The base material of these pieces is Cristina Spinelli's personal photographic archive, which she submits to a recycling process. To do so, she uses the basis of those images: not the final image, but the code that generates them (...) most of those data correspond to what the theorist and artist Hito Steyerl points out as "a new grammar, machine-readable and image-based" (...) And it is that unreadable code that Spinelli uses to destroy the digital images through an analogical procedure. The materialization of these pieces in sculptural volumes offers a body to that tangle of code, reformulates the saturation of data in another appearance, a body for the personal imaginary". - Manuela Pedrón Nicolau

"Cristina Spinelli's work investigates the relationship between text and image in the field of digital culture. This series of sculptural pieces materializes the guts of the images, playing with the visible and the invisible, the intelligible and the illegible that conditions their production and the access to them in this predominant scenario of digital technologies. The base material of these pieces is Cristina Spinelli's personal photographic archive, which she submits to a recycling process. To do so, she uses the basis of those images: not the final image, but the code that generates them (...) most of those data correspond to what the theorist and artist Hito Steyerl points out as "a new grammar, machine-readable and image-based" (...) And it is that unreadable code that Spinelli uses to destroy the digital images through an analogical procedure. The materialization of these pieces in sculptural volumes offers a body to that tangle of code, reformulates the saturation of data in another appearance, a body for the personal imaginary". - Manuela Pedrón Nicolau

“A slimy, glistening image zooms in and out at levels that would be impossible for the human eye to capture. Later we will perceive that this rugged violet field corresponds to the approach of sculptures: the bodies of some images that have changed shape, showing and altering a text —the digital code has become physical, thus has generated a mountain of papers that have become a thick conglomerate full of nuances and disjointed characters—”. - Clàudia Elies