Tony Cragg, ‘Secretions’, 1999, Deweer Gallery

Tony Cragg never felt the need to make a commercial show at Deweer; each show he installed in the former factory halls that house the gallery was a full scale, grand statement. After all, the laboratory of a factory was his working environment before he started to focus on his art and Mark Deweer was an industrial entrepreneur. Of course, Tony Cragg is now widely accepted as one of the innovators of sculptural practice. Deweer Gallery did a number of shows with Tony Cragg when the artist was beginning to get international recognition for his experimenting with surfaces, materials, forms and tensions, in ways never seen before.

“The artistic preoccupations of Tony Cragg are of an extremely sculptural kind: the artist seems entirely devoted to a research of material and form. His sculptures appear as complex and well thought out developments of profiles in space: his idiom is one of rotations and defigurations.
Tony Cragg at the same time adds an equal importance to technics and skilfulness: again and again he moves the limits of the technical realisation and the constructive capabilities of the material. And finally, everything is situated within the dimensions of up-to-date social, scientific and artistic developments. Secretions was built with an a bsolutely unusual material: dices. The particles remain very incommunicative, because unseen, as long as one keeps a distance to the sculpture. From a distance one might think that the artist refers to marble, the classical material of the sculptor.”
(Catalogue ‘Recente Aanwinsten / Recent Acquisitions’, Deweer Art Gallery, Otegem, Belgium, 2002)

Tony Cragg: Nieuwe Sculpturen, Deweer Art Gallery, Otegem, Belgium, 2002
Recente Aanwinsten, Deweer Art Gallery, Otegem, Belgium, 2002

Recente Aanwinsten / Recent Acquisitions, Deweer Art Gallery, Otegem, Belgium, 2002
Tony Cragg - Skulpturen, Kunstsammlungen Chemnitz, Germany, 2001, p.64-65
A New Thing Breathing: Recent Work by Tony Cragg, Tate Gallery Liverpool, Great-Britain, 2000

About Tony Cragg

Turner Prize-winning sculptor Tony Cragg emerged in the late 1970s with a bold practice that questioned and tested the limits of a wide variety of traditional sculptural materials, including bronze, steel, glass, wood, and stone. “I’m an absolute materialist, and for me material is exciting and ultimately sublime,” he has said. Eschewing factory fabrication of his works, Cragg has been known to merge contemporary industrial materials with the suggestion of the functional forms of mundane objects and ancient vessels—like jars, bottles, and test tubes—resulting in sublime, sinuous, and twisting forms. One of his best-known works is Terris Novalis (1997), an enormous, enigmatic public steel sculpture of engineering instruments. “When I’m involved in making sculpture, I’m looking for a system of belief or ethics in the material,” he says. “I want that material to have a dynamic, to push and move and grow.

British, b. 1949, Liverpool, United Kingdom, based in Wuppertal, Germany