McClelland Sculpture Survey Award

Reflective Simulations 2
Gregor Kregar is a finalist in the 2010 McClelland Sculpture Survey, one of Australias most significant outdoor sculpture exhibitions. Displayed throughout 16 hectares of bush and landscaped gardens, the McClelland Sculpture Survey is intended to provide sculptors the opportunity to present their works in an outdoor exhibition context. The exhibition is accompanied by a major comprehensive catalogue and the finalists are eligible for a $100,000 acquisitive award.

Reflective Simulations is on show at the McClelland Sculpture Survey Award until 20 February, 2011.

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May 2010 / Twisting the Void 2 in Abu Dhabi International Sculpture Symposium 2010

Twisting the Void 4

Gregor Kregar has recently returned from Abu Dhabi where he was installing Twisting the Void 2, a major work as part of the Abu Dhabi International Sculpture Symposium 2010 (ADISS). ASISS is a cultural event showcasing public art and sculpture in the capital of the United Arab Emirates. More information on the event and works included can be seen on their website.

May 2010

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Gregor Kregar was recently announced as the Summer 2009 winner of the ANZ Private Bank and Art & Australia Contemporary Art Award.

Gregor Kregar

Summer 2009

From live sheep to ceramic piggy banks and giant, floating geometric shapes, Gregor Kregar’s sculptural menagerie suggests that he is not an artist seduced by a single subject. Nor can one material tie him down; he picks and chooses between glass and steel, plastic and terracotta, cardboard, video, photography and livestock. Like the varied combinations of polyhedrons he creates, this Slovenian-born, Auckland-based artist is indeed multi-faceted. – Talia Linz

Gregor Kregar, Piercing the clouds, 2008; stainless steel; video and lambda print photographs; two sculptures, 300 x 250 x 150 cm and 300 x 200 x 150 cm; three wall sculptures, 180 x 120 x 110 cm, 150 x 130 x 100 cm and 80 x 60 x 40 cm; three photographs, 200 x 125 cm each; video, 60 secs duration, dual projection; installation view, Tin Sheds Gallery, Sydney

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Twisting the Void is now permanently installed at the NZI Centre, Viduct Basin in Auckland

Twisting the void 1Twisting the Void 3.1

Designed by Jazzmax Architects the feature glass building uses state-of-the-art features to create an environmentally friendly structure. Kregars two large hanging structures (each 5.5 x 5 x 4 metres) are created from mirror polished stainless steeel that reflects and fragments the environment they inhabit as well as echoing invisible molecular structures. Commissioned especially for the new building the works can be seen in the main foyer at the NZI Centre, corner Fanshawe St and Market Place.

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Mathew 12/12 included in Hair’em Scare’em

Matthew12.12 Waiheke

Previously exhibited at Prospect 2007, City Gallery, 2007, Wellington; A&P Show, The Christchurch Art Gallery, 2007 and Sculpture on the Gulf, 2005, Matthew 12/12 is included in a new publication Hair’em Scare’em by cutting-edge visual publishing house Gestalten.Twelve sheep are presented in colourful woollen jumpers inside a picket fence enclosure. The work questions our relationship to this often overlooked animal that is still so important to the New Zealand psyche and economy.
More information on Hair’em Scare’em is available from the Gestalten website.

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Dwelling for Nordung in Ljubljana

Gnezdo za Noordundga


Since the beginning of time, mankind has considered it as an expression of its Earthly weakness and inadequacy to be bound to the Earth, to be unable to free itself from the mysterious shackles of gravity. Not without good reason then has the concept of the transcendental always been associated with the idea of weightlessness, the power “to be able freely to rise into the sky.” And most people even today still take it as a dogma that it is indeed unthinkable for Earthly beings ever to be able to escape the Earth. Is this point of view really justified?

Hermann Potocnik Noordung , ‘The Problem With Space Travel’

Gregor Kregar currently lives and works in Berlin; the city where the visionary Slovenian engineer and space scientist Herman Potocnik Ordung, first published his book  ‘The Problem With Space Travel’ in 1928. This book was one of the most influential texts contributing to development of Space exploration and rocket science.

While in Berlin Gregor is working on a structure inspired by Nordung’s great and anticipatory vision of the future. This work will further explore the possibility of mobile, floating utopian architecture. The sculptural construction will be designed for a location within Mestni Trg, in the old city center of Ljubljana. The work will be suspended in the air and will look like a reflective, crystal cloud.

The work will be showed in conjunction with a major survey exhibition of Slovenian Contemporary Sculpture in September 2009.

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Residency at Kohler Co


Gregor was awarded a 2009 Arts/Industry Program Residency at Kohler Co.

This residency is undoubtedly the most unusual on-going collaboration between art and industry in the United States. Hundreds of emerging and established visual artists have benefited from the Arts/Industry program at Kohler Co. since its inception in 1974.

Participants are exposed to a body of technical knowledge that enables them to explore forms and concepts not possible in their own studios as well as new ways of thinking and working.


VANISH on Waiheke

To be installed in April 2008



Gregor Kregar is currently working on a large site-specific outdoor sculptural installation called Vanish. This installation is commissioned by Connells Bay Sculpture Park as one of their major projects for 2008. Vanish will be the final and largest self-portrait work from a series of sculptures Kregar has worked on for the last four years. This series of works began with the sculptural installation I appear and disappear in 2003. Vanish will consist of 160 ceramic figures. There will be 10 sets of 16 self-portrait figures; each set of 10 will be glazed in a different colour. The size of the figures will vary from 140 cm for the biggest one down to about 35cm for the smallest one. The figures will be positioned to start with the largest ones at the bottom/front of the site and the smallest ones on the top/back of the site. It is Kregar’s aim that the work will activate the space by changing perspective points. An exaggerated perspective will be created when walking up the valley towards the work yet when approaching the work from the back the work will fan out from the vanishing point.

Vanish will be a self-portrait work yet at the same time it will also encompass a portrait of the anonymous person. The work questions how identity is reduced the more it is reproduced. Will the artist be shrinking or growing? This depends on which way the viewer would approach the work. Essentially Vanish will be a humanist work that will paradoxically depend on the point of view of the observer; it will suggest both the fragility of a particular art form and human life itself.

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Piercing The Clouds Sydney


18. June to 12. July 2008



Piercing The Clouds is the title for a site-specific installation at Tin Sheds Art Gallery in June-July 2008. The possibility of moving cities from the earth’s surface into the air will be a central focus of this project which will encompass futuristic sculptural constructions, video projection and relating 3d rendered photographic works. The project will serve as a kind of urban model for a floating metropolis which might pose as a practical solution for the lack of housing and overpopulation of cities around the world.

Responding to the configuration of the exhibition space Gregor Kregar plans to make a combination of four different crystalline constructions and their associated shadows: These forms will be both free standing and attached to the wall organically protruding through the walls and moving through the space. The reflective constructions will start as simple shapes like an Icosahedron which will then grow into Icosi-dodecahedrons, Tetrahedrons and other complex geometric shapes. The combination of constructions and shadows will look like a maze of repeating crystalline mathematical forms that will twist the perspective and mirror the surrounding space of the gallery.

  • Wed

    Piercing The Clouds - Sydney Biennial

    Tin Sheds, Sydney. - Map

Reflective Lullaby in Melbourne


30 July to 3 August 2008



Michael Reid Gallery is proud to announce a solo project Reflective Lullaby by Gregor Kregar for their Melbourne Art Fair participation in July-August 2008.  This project will transform the usual rectangular Art Fair stand into a real forest full of trees and other plants. The walls will be covered with a photographic print that will further enhance this unusual environment. Gregor Kregar will create a number of large complex geometric structures for wall and floor. These structures will be made out of laser-cur stainless steel and will be accompanied by a group of the artist’s own versions of large garden gnomes. The gnomes will be hand modeled and cast in stainless steel. The surfaces of both objects will be mirror polished and will reflect the surrounding environment. The two objects may appear like they have nothing in common yet they share similar histories where mysticism and science are intertwined.
This site-specific installation will create an interactive experience in which the viewer’s image will become part of a kaleidoscopic reflection on the surface of the work.

  • Wed

    Reflective Lullaby - Melbourne Art Fair

    Michael Reid Gallery, Melbourne. - Map