Patricia Iglesias

Patricia Iglesias commenced her career in the workshops of the post-modern Swiss-Argentine master, Pablo Edelstein and Philip Pavia, the Italian-American abstract expressionist. Working alongside these forward-thinking avant-gardists led her towards ongoing multidisciplinary experimentation in her practice, as well as fostering her appreciation of artistic and literary traditions. At Otomys, we recognise her artwork across Australia.


The narratives of Patricia Iglesias’ artwork

Edelstein’s influence is apparent in Iglesias’ unique pastel shading and the use of the contrasting ground to create a delirious palette and sense of ‘Naturaleza in her works on paper. Iglesias has cited Simone de Beauvoir, Clarice Lispector and Marguerite Yourcenar as her feminist forebears, but from an external perspective, elements of Isabel Allende and Neruda’s magical realism speak through the coarse strokes and speculative narratives articulated in her work.


There is a sense of biological decay, too - à la Nancy Spero - which unsettles the viewer and forces us to look beyond the apparent visual plane to the possible futurities and realities in which Patricia Iglesias’ vision resides.


It is tempting when writing biographical texts, to claim a certain lineage for an artist, but for Patricia Iglesias, this effort is challenging for her work is a product of hybridity. Raised in Buenos Aires, she studied at the Savannah College of Art and Design, as well as the School of Visual Arts (New York), and currently resides in Los Angeles.


A unique as her artwork

With a cross-continental background and an immense body of illustrative work, to call Iglesias ‘figurative’ or ‘fantastical’ alone would be a reduction. Instead, her hybridisation of Roger Dean, Leonora Carrington, Del Kathryn Barton and a constantly evolving set of cross-medial inputs is Iglesias’ artistic strength. She cannot be pinned down and neither can her practice.


What can be said is that in both clay and pastel, Patricia Iglesias is a master of evocative psychedelia. Her use of shape - with echoes of Parvia’s tutelage - is evolutionary, seeming to arise from the ground upwards in composites of organic shapes or twists of the brush, creating floriographic prints and landscapes on a whim.


Yet perhaps the most compelling element of Iglesias’ portfolio is her resistance to normalisation and the beautification of her psyche through imagery. There is a restless impatience to her ongoing production of work which complements her production of ‘borderland’ pieces that are neither classically pretty nor visually unappealing. In French, we say ‘nou lèd, nou là’ — we are ugly but we are here. Iglesias’ work is confronting and visually arresting, and therein lies its revolt. Therein lies its great appeal as an ongoing portrait of the Cocteau-esque, artisanal psyche.


Patricia Iglesias’ artwork has exhibited solo throughout the United States and Argentina and is currently represented by Otomys in both Australia and the United Kingdom. Recent showings include Gladstone Gallery, New York and Sears-Peyton Gallery, Los Angeles.


Browse to our viewing room in order to see more work by Iglesias and our full roster of artists in Australia.