More Media Quotes
" As always, Wingren gives us a crisp, clean statement, at the same time enigmatic, teasing and Zen-like." - Reed Glenn, Boulder Daily Camera
"...not least of all because of this restrained use of color is Wingren considered to be a minimalist. Indeed "Kantungen" are nothing but folds, fitted together, folded rectangles. What they are, however, is by no means immediately grasped, as one minimal art axiom demands..." - Marius Babius, TAZ, Berlin
" All this irrational levity of butterfly-bright metal is countered by serious, classicizing tendency that runs throughout Wingren's works....He has opposed the tendency of stone to close in on itself by piercing it, by the careful placement of related elements, and by the directional clues given by the saw kerfs and shadows...he has held on to geometric and prismatic forms that reflect the crystalline composition of the stone itself." - Jane Fudge, Artspace
" With his large, cleverly stood-on-its head block of stone, 'Falling Rock,' Jerry Wingren has set a monumental work of purely abstract form, a sculpture which gains a great deal of its tension from the juxtaposition of worked surfaces and surfaces left natural." - Heidrich, Weser Kurier, Bremen
"Wingren's monolithic marbles are as crisp and energetic as his metal pieces, but more meditative. Their energy and movement seems more self-contained in the mass. The viewer is drawn into the stone, appreciating its natural beauty, whereas with the expansive sheet metal sculptures the viewer is propelled outward into space." - Reed Glenn, Boulder Daily Camera
"Jerry Wingren's 'Cut and Fold Series number 13' stands out for its playfulness and complexity. Two steel sheets painted white are made to resemble cut and folded strips of paper dropped casually on the ground. The negative spaces created are as tantalizing as the body of the piece, which remains a mischievous puzzle no matter how many times one walks around it." - Irene Clurman, Rocky Mountain News, Denver
"He plays with the immovability of the mass to make it appear moveable, playing too with our visual and physical senses of balance." - Victoria Groniger, Boulder Daily Camera
" The rigid frontal orientation and folds of "reference" give it a kind of ancient Egyptian formality and austerity, but it deceptively simple looking form-as if one sheet of metal has been artfully folded into an origami bird-bestows it with a lightness, grace, and elegance."
- Reed Glenn, Boulder Daily Camera
"Part of the stones' power comes from the material itself-rare Swedish black granite sourced from a quarry that boasts the most fine-grained and uniform black granite of all. Unlike marble, which is relatively soft in comparison, black granite is one of the densest and hardest materials one can sculpt. Diamond blades are the only things sharp enough to cut it, and these blades need to be replaced almost daily. The stone, neither docile nor forgiving, pushes back at the artist." - Elizabeth Marglin
"At Walker this sense of quiet manifests itself in assemblages of "resting stones," small pieces of Swedish black granite placed on two steel platforms. The effect is all minimalism and order, with the intrusion of the human hand appearing to be very light.
In the front gallery space, Wingren has installed a forest of more vertical works, such as the quartet of what he calls "paninos." Here, he tops poles with irregularly shaped dark steatite forms sandwiched between curvaceous chunks of red or yellow cedar. Standing like sentinels, they demonstrate a link between artist and material that goes to the soul of the stone and the wood.
...the power of Wingren's work is clear in the fact that an encounter with his sculpture seems to clear the mind of anything else in the room. The contrast is clear, the impact powerful." - Mary Voelz Chandler, Rocky Mountain News
" The most elegant of the "Resting Stones" are the ones made of dazzling white marble that seem to let off their own internal glow under the gallery lights" - Michael Paglia, Westword