Tony Cragg counts among today‘s internationally most renowned sculptors. He attained his very own rather traditional artistic style as early as in the 1980s, and was able to leave prevalent tendencies of Minimal and Conceptual Art behind him. Cragg was soon celebrated as the most important representative of "New British Sculpture". Over the course of his career the artist used a vast variety of materials for his sculptures, among them plastic, fiberglass, plaster, Kevlar fiber, wood, bronze and stainless steel. His scientific background in chemistry from his days as lab technician, his profession before he became an artist, can be observed in many his works. His sculptures often resemble organic structures or micro organisms and play with the laws of geometry, symmetry and physics, as they - despite their remarkable physical presence - emanate a certain lightnessand evoke a momentum of motion, which is quite surprising considering they are entirely static structures. The artist realized first works of this type in the work group "Rational Beings" from the 1990s in which he examined, in the widest sense, the anatomical form of the human spine. In the further course of the development of his style and range of themes he attained the more irrational and extreme works of the "Dancing Columns" which strike the observer - just as it is the case with this later work "Runner" from 2013 – with their transitory and momentary character. "Runner", according to Cragg, "gives me the feeling that the moment we think we know where things are going we also have the slight feeling that they may be going the wrong direction. And it‘s not just about small personal issues, it also applies to the big things that happen around us." (Quote after: www.salzburgfoundation.at/kunstprojekt-krauthuegel-anthony-cragg-drei- neue-aussenskulpturen/) With this work offered here Cragg also succeeds in creating the impression of motion through a vast range of round shapes, bulges and curves in combination with reflections on the high-gloss polished surface. At the same time he manages to add a highly fascinating notion of changeablenessto the object itself. Cragg accomplishes the impossible: he overcomes sculptural static. The three-dimensional sculpture offers its observer ever new and fascinating perspectivesand a great variety of formal aspects. The artist delivers remarkable proof of his mastery in blending form and material with irregular harmony. With tremendous dynamic elegance and aesthetic perfection, Cragg renders the material utilizeded here – stainless steel that looks like liquid silver - into a form that is a celebration of its vast array of qualities and a kaleidoscopethat offers the imaginative observer a seemingly infinite amount of possible associations. [CH/MvL]