Kristian Kragelund 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 meditative installations possess a striking synergy of traces of personal pasts and projections into collective futures, reminiscent of minimalist, post-minimalist, and conceptual art.

In Infrastructure, Kragelund explores the potential of industrial debris as ambivalent artefacts of both the human condition and history in a time of rapid technological change and political and social rupture. Fiberglass, adhesive, and metal are all inherent components of a built environment which directly and indirectly informs our lived reality. Regardless of how prevalent materials such as these are in our daily lives, we rarely encounter them in an unmediated form. Fibreglass being a reinforcement for structural objects is almost always highly polished and decorated. Adhesive performs its function by existing in-between, holding objects together in their intended position. In this case, steel wire provides support and integrity, often as suspension. Kragelund's artistic practice perpetually attempts to re-negotiate the value of the physical object and to engage the established systems and structures defining art and contemporary culture. In his endeavor to re-contextualize infrastructural elements, the established conventions of high culture and fine art are subverted and open new spaces for dialogue and discourse of what art can, should, and could be.