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Media Excerpts
As always, Wingren gives us a crisp, clean statement, at the same time enigmatic, teasing and Zen-like.
— Reed Glenn, Boulder Daily Camera
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
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
Wingren's stones make our sight more attenuated. The stones' luscious curves gleam with the potency of the ancient. Into the sanctum sanctorum of forms without function they take us, where only essence and purity matters. They invite us into their circle - to calm, to quicken, and, if we are empty enough, to illuminate.
— Elizabeth Marglin
Although his sculptures interact with their host environments, like earnest voters in a thriving democracy, their vocabulary is nevertheless both strident and singular.
— Carleen Thom, Expose
— Reed Glenn, Boulder Daily Camera
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
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
Wingren's stones make our sight more attenuated. The stones' luscious curves gleam with the potency of the ancient. Into the sanctum sanctorum of forms without function they take us, where only essence and purity matters. They invite us into their circle - to calm, to quicken, and, if we are empty enough, to illuminate.
— Elizabeth Marglin
Although his sculptures interact with their host environments, like earnest voters in a thriving democracy, their vocabulary is nevertheless both strident and singular.
— Carleen Thom, Expose
…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
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
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
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
Crossing what feels like all cultural boundaries, there is no worry here. There is only calm, power and other-worldliness, not unlike Wingren himself. This is an artist with a sense of place, confidence, and clarity, a sense of freedom and discipline, of profound seriousness mixed with whimsy. Wingren allows us a moment in time amidst the chaos; the work superseding time. His art forces us, as all good art does, to pay attention.
— Lois LaFond
The rigid frontal orientation and folds of “reference” give it a kind of ancient Egyptian formality and austerity, but it's 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
— Marius Babius, TAZ, Berlin
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
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
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
Crossing what feels like all cultural boundaries, there is no worry here. There is only calm, power and other-worldliness, not unlike Wingren himself. This is an artist with a sense of place, confidence, and clarity, a sense of freedom and discipline, of profound seriousness mixed with whimsy. Wingren allows us a moment in time amidst the chaos; the work superseding time. His art forces us, as all good art does, to pay attention.
— Lois LaFond
The rigid frontal orientation and folds of “reference” give it a kind of ancient Egyptian formality and austerity, but it's 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
Wingren Studio featured in Dwell Magazine.
