Tony Cragg – Works

Tony Cragg, ‘Point of View’, 2019
Tony Cragg
Point of View, 2019
Corten steel (or bronze)
205 (h) x 62 x 75 cm
80¾ (h) x 24½ x 29½ in

The sculpture belongs to a series of works entitled ’Point of View’ or ’Points of View’ that has become very important in Tony Cragg’s recent oeuvre.  The artist starts with outline drawings of the sculpture from two different points of view in a 90° angle. The drawings are combined and transferred into stacked ellipses of plywood to create a model. From the model a mold is made for the cast in corten steel or in bronze.
Tony Cragg, ‘Stack’, 2018
Tony Cragg
Stack, 2018
Bronze
65 (h) x 46 x 38 cm
25½ (h) x 18 x 15 in
Tony Cragg, ‘Gate’, 2019
Tony Cragg
Gate, 2019
Bronze
56 (h) x 62 x 55 cm
22 (h) x 24½ x 21¾ in
Tony Cragg, ‘Eclipse’, 2019
Tony Cragg
Eclipse, 2019
Bronze
85 (h) x 37 x 36 cm
33½ (h) x 14½ x 14¼ in
Tony Cragg, ‘Ivy’, 2018
Tony Cragg
Ivy, 2018
Bronze
205 (h) x 69 x 59 cm
80¾ (h) x 27¼ x 23¼ in
Tony Cragg, ‘Versus’, 2018
Tony Cragg
Versus, 2018
Bronze
266 (h) x 262 x 77 cm
104¾ (h) x 103¼ x 30¼ in
Tony Cragg, ‘Ivy’, 2016
Tony Cragg
Ivy, 2016
Bronze
150 (h) x 52 x 53 cm
59 (h) x 20½ x 20¾ in
Tony Cragg, ‘Untitled (McCormack)’, 2016
Tony Cragg
Untitled (McCormack), 2016
Bronze, lacquered
115 (h) x 110 x 93 cm
45¼ (h) x 43¼ x 36½ in
Tony Cragg, ‘Spring’, 2019
Tony Cragg
Spring, 2019
Wood
123 (h) x 78 x 30 cm
48½ (h) x 30¾ x 11¾ in

The work belongs to the recent series of sculptures entitled ‘Spring’. It is one of the first sculptures by the artist to have this slightly shimmering, semi-transparent green finish. The form of Spring oscillates in seemingly ever-growing ripples, originating from the delicate foot of the sculpture. A large-scale work of the series was exhibited at the Yorkshire Sculpture Park in 2017. This work was recently exhibited at the Skulpturenpark Waldfrieden in Wuppertal.
Tony Cragg, ‘Spring’, 2019
Tony Cragg
Spring, 2019
Wood
123 (h) x 78 x 30 cm
48½ (h) x 30¾ x 11¾ in
Tony Cragg, ‘Runner’, 2017
Tony Cragg
Runner, 2017
Bronze
80 (h) x 53 x 28 cm
31½ (h) x 20¾ x 11 in

The sculpture belongs to the series of works entitled ‘Runner’, which has become very important in Tony Cragg’s recent oeuvre. The work is based on outline drawings of human faces and evokes two moving figures in space. There is an interesting reference to Umberto Boccioni’s ‘Forme uniche della continuità nello spazio’ from 1913 and to Marcel Duchamp’s painting ‘Nude Descending a Staircase’ from 1912, both dealing with a figure moving in space, like the 'Runner' by Tony Cragg.
Tony Cragg, ‘Untitled (Hedge Berlin I)’, 2018
Tony Cragg
Untitled (Hedge Berlin I), 2018
Solid steel
116 (h) x 102 x 82 cm
45¾ (h) x 40¼ x 32¼ in

The group of work Hedges, inspired by Tony Cragg's childhood memories of landscapes with hedges in his English home region, comprises filigree leaf- and blade-like forms. The organic configurations rouse associations with a hedge or tumbleweed. The red-brown, matt shimmering patina of the steel contributes to these natural associations. However, looking more closely, it becomes clear that the forms, in their buoyancy and arrangement, are artificial – they are man-made. Like a mobile, the formations seem to float in a perfectly balanced state, as if their shape could alter at any given moment.
Tony Cragg, Installation view, Buchmann Galerie, 2018
Tony Cragg
Installation view
Buchmann Galerie
2018
Tony Cragg, ‘Parts of Life’, 2014
Tony Cragg
Parts of Life, 2014
Bronze
123 (h) x 100 x 100 cm
48½ (h) x 39¼ x 39¼ in
Tony Cragg, ‘Pair’, 2019
Tony Cragg
Pair, 2019
Wood
244 (h) x 112 x 92 cm
96 (h) x 44 x 36¼ in
Tony Cragg, ‘Split’, 2018
Tony Cragg
Split, 2018
Bronze
85 (h) x 52 x 49 cm
33½ (h) x 20½ x 19¼ in
Tony Cragg, ‘Spring’, 2016
Tony Cragg
Spring, 2016
Bronze
98 (h) x 91 x 24 cm
38½ (h) x 35¾ x 9½ in
Tony Cragg, ‘Senders’, 2018
Tony Cragg
Senders, 2018
Bronze
90 (h) x 31 x 37 cm
35½ (h) x 12¼ x 14½ in

The form of the work is linked to figuration, or to a standing figure, which for Tony Cragg is very often a point of reference when creating a sculpture.  On the other hand this sculpture keeps a relatively high level of abstraction. The rhythm and structure of the form from bottom to the top evokes the works of the Mumuye or the Baule.  Tony Cragg succeeds to make a sculpture that is committed to an universal language of sculpture, a work that is not bound to the time it was made but that goes beyond. 
Tony Cragg, ‘Points of View’, 2012
Tony Cragg
Points of View, 2012
height of each column 7 meters / 23 feet
Tony Cragg, ‘Tommy’, 2013
Tony Cragg
Tommy, 2013
Bronze
360 (h) x 290 x 220 cm
141¾ (h) x 114¼ x 86½ in
Tony Cragg, ‘Conversion’, 2017
Tony Cragg
Conversion, 2017
lacquered aluminium
200 (h) x 192 x 105 cm
78¾ (h) x 75½ x 41¼ in

Conversion, made from aluminium, adopts the leaf-like structure of the work group of the ‚Hedges‘ but transposes it into a floral setting, which in turn seems to explode the limitations of abstraction with its camouflage finish.
Tony Cragg, ‘Willow’, 2017
Tony Cragg
Willow, 2017
wood
140 (h) x 77 x 81 cm
55 (h) x 30¼ x 32 in

The gyrating laminates of form in Willow are based on a weeping willow tree that stands next to Cragg’s house in Tjörn, Sweden. 
Tony Cragg, ‘Untitled (Double Stack)’, 2018
Tony Cragg
Untitled (Double Stack), 2018
bronze
100 (h) x 68 x 54 cm
39¼ (h) x 26¾ x 21¼ in
Tony Cragg, ‘Untitled (Multiple Skull)’, 2017
Tony Cragg
Untitled (Multiple Skull), 2017
wood
240 (h) x 227 x 172 cm
94½ (h) x 89¼ x 67¾ in
Tony Cragg, Installation view, Buchmann Galerie, 2018
Tony Cragg
Installation view
Buchmann Galerie
2018
Tony Cragg, ‘Aube / Dawn’, 1987
Tony Cragg
Aube / Dawn, 1987
Buchmann Galerie
Various materials, wax crayon
127,5 (h) x 119 x 78 cm
50¼ (h) x 46¾ x 30¾ in

Aube (Dawn) belongs to the group ‚Villages‘ or ‚Landscapes‘ by Tony Cragg, whose starting point is often a used table, which the artist then combines with stylized houses with gabled roofs made of simple industrial wood, mostly chipboard. The table, object of the human center of life, creates an architecture in which the houses are arranged on different levels like in a terraced landscape. With a black wax crayon, Tony Cragg has covered the individual elements densely with a strong wave-shaped drawing and removes the individual objects from their boundaries. He transforms them into a new, sculptural quality. Interesting is the title, which refers to the dawning daylight but also evokes the horizon, which creates a spatial boundary that lies outside the sculpture.
Tony Cragg, ‘Untitled (Incarnation)’, 2018
Tony Cragg
Untitled (Incarnation), 2018
bronze
140 (h) x 107 x 67 cm
55 (h) x 42¼ x 26½ in
Tony Cragg, Installation view, Buchmann Galerie, 2018
Tony Cragg
Installation view
Buchmann Galerie
2018
Tony Cragg, ‘Untitled (Stack)’, 2018
Tony Cragg
Untitled (Stack), 2018
bronze
80 (h) x 54 x 49 cm
31½ (h) x 21¼ x 19¼ in
Tony Cragg, ‘Seam’, 2015
Tony Cragg
Seam, 2015
Bronze
85 (h) x 49 x 52 cm
33½ (h) x 19¼ x 20½ in
Tony Cragg, ‘Different Points of View’, 2013
Tony Cragg
Different Points of View, 2013
Bronze
150 (h) x 60 x 60 cm
59 (h) x 23½ x 23½ in

‘Different Points of View’ is constructed from many different faces. When looking at the work from different angles, one always discovers different figurations anew. The work has Tony Cragg’s classical black patina with a silky finish.
Tony Cragg, ‘False Idols’, 2011
Tony Cragg
False Idols, 2011
Steel
95 (h) x 38 x 44 cm
37½ (h) x 15 x 17¼ in
Tony Cragg, Installation view, Buchmann Galerie, 2015
Tony Cragg
Installation view
Buchmann Galerie
2015