La presente tesis doctoral se organiza en dos apartados: 1) un estudio formal de sus esculturas 2) su concepción de lo artístico. Su formación como escultora cabalga entre la recuperación del objeto y la imagen por parte de la Nueva Escultura Inglesa y el interés centroeuropeo por una escultura-arquitectónica que es "espacio poético".Iglesias investiga sobre hasta dónde podemos emplear los materiales. En cuanto a las formas, ha levantado durante toda su carrera muros-pantalla que construyen espacios. Si hay un significado general a todas las piezas es la idea de imaginar que el lugar que se mira o nos cobija, es real.Primero ver, luego imaginar. Así podría resumirse la intención de Iglesias con sus construcciones. Sus esculturas son espacios reales y representaciones al mismo tiempo. La escultura de Iglesias es un "espacio de percepciones", representaciones simbólicas de amenaza, cobijo, miedo, deseo, opresión, desorientación...como estar en un laberinto. / The present doctoral thesis is organized in two parts: 1) a formal study o her sculptures 2) the conception of Cristina Iglesias about the artistics.Her training like a sculptor was between the recovery of space and the image by the New English Sculpture and the interest Centro European by an architectural sculpture that is "poetic space".Cristina Iglesias researches on until where we can employ the materials. Regarding the forms, she has put on during her career screen- walls that build space.If there is a general meaning to all pieces is the idea to imagine that the place that look or receive us, is real.First see, afterwards imagine. Her sculptures are real spaces and representations to the same time. Iglesias´s sculpture is a "space of perceptions", symbolic representations of threat, shelter, fear, wish, oppressions, disorientation. Like being in a labyrinth

Le sculpteur français Juan de Juni (1507-1577) s’installa en Espagne au début du Siècle d’Or. Après quelques travaux au gré de son itinérance, il établit son atelier à Valladolid en 1540. L’artiste contribua à l’émergence de « l’École de Sculpture de Valladolid ». Il réalisa au total en Espagne une cinquantaine d’œuvres, principalement en bois polychrome, consacrées à la Passion du Christ et au culte marial. Précisément, notre travail de thèse consiste à ne pas restreindre son œuvre à la sphère artistique ibérique mais au contraire à montrer le caractère cosmopolite et la polyvalence stylistique du sculpteur ; pour cela, nous cherchons à faire la lumière sur son parcours de formation (1507-1533), depuis ses premières œuvres dans sa région natale jusqu’à son établissement à Valladolid / French sculptor Juan de Juni (1507-1577) settled in Spain at the beginning of the Golden Century. He sculpted a few works as his route took him until he reached Valladolid where he installed his workshop in 1540. The artist contributed to the emergence of the “Sculpture Academy of Valladolid”. He made fifty works in Spain in all, mostly in polychromatic wood, dedicated to the Passion of Christ and the cult of marriage. Our Ph-D study does not precisely consist in restricting his work to the Iberian artistic sphere but on the opposite in showing the cosmopolitan nature and stylistic versatility of the sculptor; in that aim we try to get right to the bottom of his career path (1507-1533), starting with his first works in his native region to his establishment in Valladolid