![]() RecognitionĬragg has been recognised for his prolific practice from the early days of his career. For the wooden sculpture A Head, I Thought (2011), Cragg contorted a facial profile until it became a new form of abstracted columns and slabs. In the bronze Taurus (Early Forms) (1999), for example, the original vessel is unrecognisable in the monumental bronze sculpture whose smooth planes and curvature instead recall oysters or the waves of the sea.īy contrast, the later series 'Rational Beings' is concerned with the transformation of the human figure into abstraction. 'Early Forms', begun in the late 1980s, is inspired by the vessel, one of the earliest objects made by humankind, that the artist distorts and twists to create new forms. Transformationįor the series 'Early Forms' and 'Relational Beings', Cragg employs more traditional media to examine sculpture's potential to transform the familiar into something new and unusual. Unlike the artist's earlier works such as Minster (1990)-which consists of four sculptural forms but is made of circular metal machine parts amassed into towers-sculptures like Points of View are often in one solid piece, but retain a stacked illusion through their horizontal extensions. ![]() Points of View (2013), a set of three seven-metre columns, seems to change shape when viewed from different angles. ![]() The verticality of his sculptures is sometimes reminiscent of Constantin Brancusi's columns, while the horizontal ellipses that protrude from the columns recall the multi-faceted figures of Umberto Boccioni and Giacomo Balla. Verticality and HorizontalityĬragg has cultivated a tiered appearance to his sculptures throughout his practice. Similarly using manmade objects to depict natural forms in works such as Leaf (1981) or Bird (1980), Cragg pointed to the impact of human intervention on the world at large. For New Stones, Newton's Tones (1978), the artist arranged found plastic objects such as combs, toy shovels, bottle caps and spoons according to colour in a rectangular format on the floor. Human InterventionĬragg garnered attention in the late 1970s and 1980s for his use of found everyday objects and detritus, commonly arranged on the floor or fixed to a wall. Familiar forms are multiplied, distorted, or warped in Cragg's sculptures, giving rise to expansive or stacked forms that may resemble the human body or natural landscapes. While initially known for his use of unconventional materials, Cragg has worked with broadly with the more traditional bronze, wood, and steel as well as plastic and found objects. Cragg completed his studies at the Wimbledon College of Arts, London (1973) and the Royal College of Art, London (1977).
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