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Tony Cragg, ‘Made on Earth, Heart Museum, Herning, DK’, Installation view, Buchmann Galerie, 2022
Tony Cragg
Made on Earth, Heart Museum, Herning, DK, 2022
Installation view
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Tony Cragg, ‘Two Moods’, 2014
Tony Cragg
Two Moods, 2014
Bronze
160 (h) x 100 x 94 cm
63 (h) x 39¼ x 37 in

‘Two Moods’ is constructed from two different faces. When looking at the work from different angles, one always discovers different figurations anew.
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Tony Cragg, ‘Elliptical Column’, 2021
Tony Cragg
Elliptical Column, 2021
Stainless steel
218 (h) x 89 x 85 cm
85¾ (h) x 35 x 33½ in
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Tony Cragg, ‘Curl’, 2022
Tony Cragg
Curl, 2022
Murano Glas
78 (h) x 24 x 24 cm
30¾ (h) x 9½ x 9½ in
5/38
 Tony Cragg, Masks, Wood, Sculpture, Skulptur
Tony Cragg
Masks, 2021
Wood
150 (h) x 58 x 116 cm
59 (h) x 22¾ x 45¾ in

Tony Cragg's most recent series titled Masks deals with the origin of the mask from archaic times as well as its contemporary actuality. The soft organic forms are reminiscent of natural phenomena and point to the fact that the mask has always been both culture and nature.
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Tony_Cragg_Masks_wood_sculpture_Skulptur
Tony Cragg
Masks, 2021
Wood
150 (h) x 58 x 116 cm
59 (h) x 22¾ x 45¾ in
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Exhibition view of Tony Cragg's exhibition in the Buchmann Galerie 2021
Tony Cragg
Installation view
Buchmann Galerie
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Tony Cragg, ‘Processor’, 2022
Tony Cragg
Processor, 2022
Murano Glas
38 (h) x 29 x 35 cm
15 (h) x 11½ x 13¾ in
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Tony Cragg, ‘Karst’, 2020
Tony Cragg
Karst, 2020
Bronze
125 (h) x 136 x 96 cm
49¼ (h) x 53½ x 37¾ in

Collecting, sorting, stacking, and layering material is a sculptural principle that Tony Cragg has been exploring since the 1970s. The bronze ,Karst’ impressively demonstrates the progress of this principle; here, facial profiles are layered and fanned out. The sculpture is reminiscent of geological formations and seems to push against gravity with powerful force.
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Tony Cragg, ‘Near Relatives’, 2022
Tony Cragg
Near Relatives, 2022
Polished stainless steel
80 (h) x 50 x 40 cm
31½ (h) x 19¾ x 15¾ in
11/38
Tony Cragg, Hollow Head, Bronze, 77x43x44cm, 2019, sculpture, Skulptur
Tony Cragg
Hollow Head, 2019
Bronze
77 (h) x 43 x 44 cm
30¼ (h) x 17 x 17¼ in
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A sculpture with three columns by the british artist Tony Cragg
Tony Cragg
Points of View, 2019
Bronze
110 (h) x 55 x 55 cm
43¼ (h) x 21¾ x 21¾ in
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Tony Cragg's sculpture It is it isn't, 2020, 85 cm high, bronze, in the Buchmann galerie
Tony Cragg
It is, It isn't, 2020
Bronze
85 (h) x 29 x 21 cm
33½ (h) x 11½ x 8¼ in
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A stainless sculpture by Tony Cragg called Stages, 2022
Tony Cragg
Stages, 2022
Stainless steel polished, unique version of six
95 (h) x 38 x 45 cm
37½ (h) x 15 x 17¾ in
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Tony Cragg, ‘Quadruped’, 2019
Tony Cragg
Quadruped, 2019
Bronze
80 (h) x 42 x 56 cm
31½ (h) x 16½ x 22 in
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Tony Cragg, ‘Eclipse’, 2019
Tony Cragg
Eclipse, 2019
Bronze, unique version of six in different colour / patina
120 (h) x 42 x 48 cm
47¼ (h) x 16½ x 19 in
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Tony Cragg, untitled, 95x35x35cm, bronze, 2019, Skulptur, sculpture
Tony Cragg
Untitled, 2019
Bronze
95 (h) x 35 x 35 cm
37½ (h) x 13¾ x 13¾ in
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Tony Cragg, ‘Pair’, 2021
Tony Cragg
Pair, 2021
Bronze
142 (h) x 65 x 54 cm
56 (h) x 25½ x 21¼ in
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Tony Cragg, ‘Willow’, 2014
Tony Cragg
Willow, 2014
Bronze
235 (h) x 232 x 251 cm
92½ (h) x 91¼ x 98¾ in
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Tony Cragg, ‘Untitled’, 2019
Tony Cragg
Untitled, 2019
Bronze
115 (h) x 46 x 34 cm
45¼ (h) x 18 x 13½ in
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Tony Cragg, untitled, Edelstahl, Stainless steel, sculpture, steel, 2020
Tony Cragg
Untitled (Pair), 2020
Stainless steel
330 (h) x 76 x 90 cm
130 (h) x 30 x 35½ in
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Tony Cragg wood sculpture Integer from 2020 in the Buchmann Galerie
Tony Cragg
Integer, 2020
Wood
150 (h) x 100 x 89 cm
59 (h) x 39¼ x 35 in
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Tony Cragg, Spring, bronze, sculpture, Skulptur, red, Rot
Tony Cragg
Spring, 2016
Bronze
98 (h) x 91 x 24 cm
38½ (h) x 35¾ x 9½ in
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Tony Cragg, Point of View, steel, bronze, sculpture, Skulptur, 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.
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Tony Cragg, ‘Stack’, 2019
Tony Cragg
Stack, 2019
Bronze
75 (h) x 58 x 36 cm
29½ (h) x 22¾ x 14¼ in

Collecting, sorting, stacking, and layering material is a working process that Tony Cragg has repeatedly tested as a sculptural principle since the 1970s. ,Stack’ (1975) in the Tate Gallery collection is an early example. ,Stack’ (2019) stretches the thematic arc further; here, facial profiles are layered and fanned out. The sculpture's form is reminiscent of geological formations and seems to push against gravity in a powerful movement.
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Tony Cragg, ‘Versus’, 2018
Tony Cragg
Versus, 2018
Bronze
266 (h) x 262 x 77 cm
104¾ (h) x 103¼ x 30¼ in

The work belongs to a series of sculptures of the same title, “Versus”. Typical of a disc-shape, the sculpture describes a full circle from the front but transforms into a thin strip when looked at in profile. Tony Cragg combines the abstract form with an accumulation of organic elements, interwoven with profiles of human faces. Versus (2018) is the largest sculpture of the series to date, with the first being the one executed for the Tony Cragg exhibition at the Musée du Louvre, Paris, in 2011.
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Tony Cragg, Tommy, large scale sculpture, bronze 2013
Tony Cragg
Tommy, 2013
Bronze
360 (h) x 290 x 220 cm
141¾ (h) x 114¼ x 86½ in
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Tony Cragg, ‘Ivy’, 2018
Tony Cragg
Ivy, 2018
Bronze
205 (h) x 69 x 59 cm
80¾ (h) x 27¼ x 23¼ in
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Tony Cragg, Curve, stainless steel, sculpture, Skulptur
Tony Cragg
Curve, 2020
Polished stainless steel
120 (h) x 71 x 65 cm
47¼ (h) x 28 x 25½ in
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Exhibition view of Tony Cragg's exhibition in the Buchmann Galerie 2018
Tony Cragg
Installation view
Buchmann Galerie
31/38
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.
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Exhibition view of Tony Cragg's exhibition in the Buchmann Galerie 2015
Tony Cragg
Installation view
Buchmann Galerie
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Tony Cragg, untitled (multiple skull), 201, wood, sculpture
Tony Cragg
Untitled (Multiple Skull), 2017
wood
240 (h) x 227 x 172 cm
94½ (h) x 89¼ x 67¾ in
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Tony Cragg, Seam, Bronze, 2015, 85cm / 33 inch high
Tony Cragg
Seam, 2015
Bronze
85 (h) x 49 x 52 cm
33½ (h) x 19¼ x 20½ in
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Tony Cragg In Frequencies, 43 x 26 x 36 cm / 17 x 10¼ x 14¼ in, Bronze, Buchmann Galerie
Tony Cragg
In Frequencies, 2020
2020
43 (h) x 26 x 36 cm
17 (h) x 10¼ x 14¼ in
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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. 
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Tony Cragg sculpture Conversion, lacquered aluminium, 200 x 192 x 105 cm
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.
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Tony Cragg, ‘Test Tubes’, 2008
Tony Cragg
Test Tubes, 2008
Watercolour on paper
41,0 x 54,4 cm
16¼ x 21½