scroll collection

Kristian Kragelund (1987) concerns himself with the objecthood of painting and the historical resonance of sculptural materiality. Through a weave of formalist and conceptual painting, the utilization of oxidization techniques and by appropriation of new and recycled industrial materials, he poses critical questions regarding the social and discursive histories of Western modernity. Working reductively, his meditate wall-based works possesses a striking synergy of traces of personal pasts and projections into collective futures, reminiscent, inversely, of early Minimalist art