1962-1965 United States Navy
1965 Trip to Bennington College, Bennington, Vermont to visit
Anthony Caro and Kenneth Noland.
Began plexiglass pieces.
1967 First experimentations with lasers, ideas for projection of color transparencies into a controlled atmosphere of vapor.
From these first triangular plexiglass works to the complex forms in clear plexiglass with pigmented resin in their seams…the reduction of the material requirements of sculpture and the resulting demands on the viewer’s perception have been continuous. While the pristine forms and handsomely crafted materials in these sculptures are an undeniable part of their appeal, their strength lies primarily in their creation of ambiguity….The ambiguity in Krebs’ plexiglass pieces centers on their opposing qualities of concreteness and transparency….Later the edges of the plexiglass forms were beveled to create a greater end surface and pigment was added to the resin used to join the separate sections. The result...was a glowing configuration of colored light supported by transparent planes."
Woods, James N. Rockne Krebs, Albright-Knox Art Gallery, 1971.
“The sculpture seems to change as the viewer moves around it. Seen from the outside, the diagonal edges of the parallel walls overlap in the field of vision, forming a glistening X that shifts proportion as the viewer moves his head….all the while, the shadows and reflections cast by Clear (5’ wide x 12’ high) are responding precisely to the clouds and people moving around it and to the movement of the sun…displayed outdoors for HemisFair ’68, the world’s fair in San Antonio, TX. More than seven million people are expected to look at – as well as through – a Krebs sculpture of transparent Plexiglass...”
Richard, Paul. HemisFair Sculpture, The Washington Post, 1968.
“Actual space is the medium of sculpture. I want to grasp the peculiarities of this medium and to force perception of the sculptural space to a conscious level….A transparent object occupies space, yet it can absent itself from the milieu. When this occurs, the viewer is compelled to locate it and define for himself the space it occupies. Perception of the space becomes a conscious act. The sculptures exist without an image and maintain a curious detachment from the surrounding space, even while their transparency continually confronts the viewer with his environment. The six planes that form the urban interiors through which our bodies move become their armature. “ Rockne Krebs, December 1967
Artists on Their Art, Art International, Volume XII/4, 1968.
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