Håkon Anton Fagerås, born in 1975, is an artist based in both Oslo, Norway, and Pietrasanta, Italy. A graduate of the National Academy of Fine Arts in Oslo, he specialises primarily in marble. Since 1999, he has been working within the rich artistic tradition of Pietrasanta - the Tuscan town renowned for its marble quarries and stone carving workshops.

His most notable solo exhibitions were hosted at the Vigeland Museum in 2016 and at the Northern Norway Museum of Art in 2016/2017.

Fagerås has undertaken several significant public commissions, such as monuments and memorials.
In 2011 his monument to Norwegian polar explorer Roald Amundsen and his first expedition to reach the South Pole, was unveiled at Bygdøy by King Harald V of Norway. Simultaneously, a bust of Amundsen carved from ice was unveiled at the South Pole.
Fagerås has designed three coin faces for Norges Bank, the central bank of Norway.

He is represented by Galleri Haaken in Oslo, Norway.

"(...) Fagerås makes sculptures which have evolved in quite an original direction. With these works he is able to show a technically refined idiom in clay, marble, or various alloys, to create figures that exist in an atmosphere of suspended time. They seem to show an intimate, introverted, and insecure human dimension with a unique emotional and physical expression. These works have a presence that, in a puzzling way, destabilize the typical repertoire of poses, both within the classical academic tradition and the more realistic tradition, which takes its point of departure in ordinary human behaviour.

The distinctive originality in Fagerås' work lies, in my opinion, in its fascinating ambivalence of style and expression. His sculptures are both an expression of a conscious investigation of the limits of sculptural representation, and at the same time a passionate and at times nostalgic attempt to give his figures an authentic living tension. He tries to capture the essence of his models' individuality by maintaining the ephemerality of a gesture or a moment of their existence, and in that sense the core of his sculptures is just as much space as time; an eternal present. (...)"

The Fascinating Vulnerability of Sculpture, Francesco Poli