Press reviews on the exhibition in Bangalore
"Kratu's current show is dominated by the theme which has fascinated him most - the concept of mother and child. The mother and child concept, though old as the skies is infinitely fascinating - it concerns the truest love. He has modelled several touching variations on the same subject - the mother with the child cradled against the chest, the child resting peacefully on the mother's shoulder in complete surrender and confidence. However the conventional mother and child theme which is so obvious is not all there is to it. He intends portraying another dimension - the spiritual. He sees an inner awakening of the self in a woman symbolically represented by the child emerging from the mother's heart. Kratu works mostly at figurative sculptures though he does occasionally venture into abstracts, when the concept he wishes to portray demands it. He sometimes moulds abstract backgrounds, but it is the human form that interests him most. Kratu's works do not stun or scream. They evoke a feeling of peace, instead. The graceful lines of the forms he has created arouse a feeling of aesthetic joy and pride in the beauty of the human form…."
K. Hema, "The economic times", Bangalore, 26.9.99
"Bactrian beauty in Gandharvan features. This was one of the arresting features of Kratu's works, beside being remarkable for its hairdo--in finely threaded grooves, a rolled-up hairline and a sizeable top knot trenched in petalled designs of metal jewellery. Still, Italian sculptor Kratu excels in his mother-child subject. "L'enfant est l'ame de la mere", muses Kratu. And seeing his sculptures it is impossible to disagree. And like in one of his sculptures, the contact that he establishes between the two is entirely mute...Apart from their inevitable physical contact, there is hardly a sign of contact, with neither of the two volunteering towards each other...Yet one thing establishes the contact. Their look, that seems to have been rather unconsciously directed towards each other. Kratu is not over addressing the relationship and therefore rescues it from the cliche it has turned to be. By technique, his mother-child series in ceramic are almost incredible. A sculpture, three-dimensional and tactile, requires no special effort at deciding density. Yet Kratu seemed intent on it. His highlighting at certain seams that are points of physical contact between two individual images, gives the works their luminosity. His fluid surface area contributes to internalizing the maximum of external light. And it is these photosensitive points that give them their best execution."
Chandranandinee V. Iyengar. "Hindu" , Bangalore, 2.10.99