In this work – half painting, half sculpture – a painted canvas crams itself into a seat to stare at another painting hanging on the wall opposite
Photograph: Ione Saizar Photograph: guardian.co.uk
Crumpled and distorted, the seated canvas invites us to see paintings in different ways – as both objects and beings
Photograph: Ione Saizar Photograph: guardian.co.uk
The ripped, wrecked nature of the canvases seem to embody the precarious nature of art
Photograph: Courtesy the artist and Lisson Gallery, London Photograph: guardian.co.uk
A finished work? Or just nothing, as its title suggests?
Photograph: Courtesy the artist and Lisson Gallery, London Photograph: guardian.co.uk
De la Cruz sometimes incorporates old furniture into her works, as in this sculpture combining a lumpy canvas with an old studio table, its legs sticking out at angles
Photograph: Courtesy the artist and Lisson Gallery, London Photograph: guardian.co.uk
This huge, dirty-white monochrome seems to come as a retort to whiter-than-white paintings by artists such as Kazimir Malevich, Piero Manzoni and Robert Ryman
Photograph: Ione Saizar Photograph: guardian.co.uk
'When I first knew her,' writes Adrian Searle, 'De la Cruz worked in a studio so small and cluttered, it was hard to tell where her work began and ended'
Photograph: Ione Saizar Photograph: guardian.co.uk
In this, one of the most recent works in the exhibition, a waiting-room chair sprawls on the floor, as if having collapsed under someone's weight
Photograph: Ione Saizar Photograph: guardian.co.uk
Another new work, a white rectangle with dark border, seems to 'stare back at you like a face, another self', says Searle
Photograph: Ione Saizar Photograph: guardian.co.uk
Sometimes folded, sometimes sagging or sprawling, De la Cruz's works have been described as a retort to the talk of death that grips the art world every now and then. See these, and more, at the Camden Arts Centre in London until 30 May 2010
Photograph: Ione Saizar Photograph: guardian.co.uk
