Metamorphosis as a aesthetic fact in Tony Cragg’s sculpture
Abstract
Tony Cragg’s work is developed by means of sculptures between organics and inorganics models. Neither representation nor abstraction will be valid for defining Cragg’s human forms. Metamorphic objects will be employed and understood as a real-world phenomenon compared to an Apollonian tendency perceived as false. Thus, the spiritual-dynamic will be imposed on a bourgeois, static idea of the aesthetic experience, which will be depicted as a passing, fleeting moment.
As a result, all we can see in Tony Cragg’s sculpture is a unique object hardly noticed due to its constantly transformation and its multiple faces in line with aesthetic proposes of contemporary sculpture.
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