Seine Raumplastiken setzen keine Zeichen im Raum, nein, sie hinterlassen dort Spuren, denen dann unser Auge folgt – und genau diese Bewegung des Auges begründet zugleich eine zeitliche Erfahrung. Nur im nachvollziehenden Blick, der der Bahn des Metalls durch den Raum folgt, kann man dessen ganze Dimension ermessen. Und diese Notwendigkeit einer gleichzeitigen Raum- und Zeiterfahrung, die erst der Künstler und dann der Betrachter macht, begründet die singuläre Größe von Krickes Kunst.
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