Marina Iglesias

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

“Several years ago, I was struck by the phrase ‘The Triumph of Flowers,’ which has captivated me ever since. It reflects a marvel at the natural world’s intelligent, punctual orchestration of seasonal cycles.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

‘El Triunfo de las Flores’ symbolizes the return of spring and the rebirth of flowers, embodying a delicate yet resilient beauty.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

This concept led me to connect the theme with the Greek myth of Persephone and Demeter as recounted in the Homeric Hymn to Demeter.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

Persephone, daughter of Demeter, was abducted by Hades to be his wife, leading Demeter on a quest that ultimately brought her to Eleusis in the guise of an old woman. There, she attempted to immortalize the young Demophon, a plan thwarted by the boy’s mother’s interruption.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

In response to Demeter’s abandonment of her earthly duties, a famine ensued, compelling Zeus to negotiate Persephone’s return.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

However, Hades’s deceit with a pomegranate seed bound her to the underworld for part of the year.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

The arrangement that Persephone spends part of the year with Hades and the remainder with Demeter on Olympus reflects the cycle of seasons, with her time in the underworld symbolizing winter and her return heralding spring.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

This myth, interpreted as an allegory of agricultural cycles and the mysteries of life and death, underpins the Eleusinian Mysteries, an agrarian cult celebrating the cycles of life, death, and rebirth. ‘El Triunfo de las Flores’ draws from pivotal moments in this myth, encapsulating the essence of Persephone’s journey and the rejuvenation of nature under Demeter’s care.

Installation view, Marina Iglesias: El Triunfo de las Flores (The Triumph of Flowers), March 1 – 21, 2024. Artwork © Marina Iglesias. Courtesy of the Artist and ELIGERE. Photo: Heesoo Park

Ultimately, this exhibition addresses the relationship between myth and human experience. Art history is also highlighted, as the hymn is known for its multiple representations, especially the episode of Persephone’s abduction. Personally, I wanted to present this reflection on cycles—in nature, throughout history, and in our lives—as an expression of acceptance and optimism, a certainty about the return of flowers, spring, and all the good that is yet to come.”

Marina Iglesias

Marina Iglesias (b. 1991) was born in Spain and currently lives and works in Valencia. Her interest in painting and sculpture revolves around the exploration of materials and the process of posing questions to engage viewers. In this regard, her work draws inspiration from the non-linear approach to art history proposed by Aby Warburg, which connects images across time, bringing them into contemporary relevance. Central to her art are inquiries into the narratives of history, the collective and personal legacies we inherit, and the interplay between fantasy and reality, prompting us to reflect on our perceptions.

Iglesias’s paintings are influenced by folklore, medieval and Renaissance art, myths, tarot, and ancient scientific illustrations. She merges familiar and imagined elements within lush landscapes teeming with animals, flowers, and leafy trees, creating dreamlike, surrealist scenes where life simultaneously flourishes and appears vulnerable.

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