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拍品專文
Tony Cragg is known for his fearless experimentation with materials and structure, and the tall forms that make up Untitled are an exemplary representation of the artist’s desire to push the boundaries of his art. His enthusiasm is profoundly felt in his work, in both the organic and dynamic shapes, and the luxurious, polished surface. Curator Lynn Cooke asserts that “Cragg’s works invite a strong visceral response. Not only is the concrete, tangible nature of the object/ material inescapable but there is an overtly sensual appreciation of texture, surface and colour” (L. Cooke, quoted in, Tony Cragg Signs of Life, 2004, p. 254).
Unlike traditional, classic sculpture, Cragg’s work plays with organic forms, abstraction and movement, putting him at the forefront of sculptural innovation. He strikes an impressive balance between innovation and preserving the integrity of his materials. “The way Cragg forms his objects has always had a suprapersonal effect,” Kay Heymar, “as if the objects are placed into an order not because someone’s expressive will desires it so, but rather because a system seemingly exists into which the objects at hand must fit” (K. Heymar, quoted in, Tony Cragg Signs of Life, 2004, p. 10).
Executed in 2008, Untitled is a dynamic piece and prime example of Cragg’s unparalleled investigations into the materiality and movement of his sculptures. This work engages the viewer by inviting them to search for abstracted facial features distorted into hidden segments of the three columns. The organic nature, smooth surface, and dominating verticality of this piece commands attention and represents a striking example of the artist’s oeuvre.
Unlike traditional, classic sculpture, Cragg’s work plays with organic forms, abstraction and movement, putting him at the forefront of sculptural innovation. He strikes an impressive balance between innovation and preserving the integrity of his materials. “The way Cragg forms his objects has always had a suprapersonal effect,” Kay Heymar, “as if the objects are placed into an order not because someone’s expressive will desires it so, but rather because a system seemingly exists into which the objects at hand must fit” (K. Heymar, quoted in, Tony Cragg Signs of Life, 2004, p. 10).
Executed in 2008, Untitled is a dynamic piece and prime example of Cragg’s unparalleled investigations into the materiality and movement of his sculptures. This work engages the viewer by inviting them to search for abstracted facial features distorted into hidden segments of the three columns. The organic nature, smooth surface, and dominating verticality of this piece commands attention and represents a striking example of the artist’s oeuvre.