Summary of Antony Gormley
A highly celebrated contemporary sculptor whose works are globally recognizable, Antony Gormley is most famous for his large-scale public art interventions. Gormley is fascinated by the human form and he references it in most of his work, with sculptures that range from the semi-realistic to the semi-abstract. One of Gormley's reoccurring motifs is his use of multiple human figures within a single work, situating them in unexpected natural or urban locations. In doing so, he questions how humans interact with the environment and how they fit into the landscape that they inhabit. The fragility of the human form is contrasted with Gormley's use of industrial materials such as concrete and cast iron, which bring materiality and solidity to his work, giving them a sense of permanence and allowing them to survive in the outdoor environments in which they are often placed. Gormley is widely regarded as Britain's best-known sculptor with permanent public artworks existing in locations around the world, including Liverpool's Crosby beach, the Austrian Alps, and Sao Paolo in Brazil. He continues to work actively to date and has recently branched into more digitally-informed projects.
- In his earlier work Gormley used his body as both source and tool, creating indentions, shapes and replicas of his own form. Although, he has now stepped back from the production side of his artwork, he continues to use casts or models of his own body in many of his works. In doing so, his form exists as both himself and an Everyman representing the wider population, as he notes, "the instrument is particular, the ambition universal".
- Some of Gormley's most prominent works, including his Turner Prize winner Field (1991), contain significant elements of collaboration, with communities engaging with the artist to produce the constituent parts of the artwork under his direction. In other pieces, individual components are informed by casts or measurements taken from the bodies of volunteers as in Allotment (1995) and Domain Field (2003). The effect of this cooperative effort is the creation of work that, when initially viewed, appears to present a homogeneous mass of humanity, but when inspected more closely is made up of distinctly individual shapes.
- Gormley's figures are neutrally posed, simplified, repetitive, and lack facial features. This removes the ability of the viewer to draw emotional cues drawn from expression and posture and it is, therefore, hard to place a direct narrative interpretation on his works. The figures simply exist in the environment in which they've been placed, but their presence and appearance leads to a feeling of the uncanny. They are recognizably human, particularly from a distance, but on close inspection their humanity is less apparent. In the same manner, their placement within the landscape populates the space, but the figures lack sentience. This uncomfortable reaction to the pieces, in conjunction with the vastness of many of Gormley's installations, marks his work with a connection to the sublime, an effect common in Romanticism and particularly the works of painter Caspar David Friedrich.
Biography of Antony Gormley
Antony Gormley’s figures have towered over hilltops, appeared precariously on university rooftops and perched 2,000 meters above sea level on Alpine mountaintops. But the sculptor said: "I've never been interested in making statues. I have been interested in asking what is the nature of the space a human being inhabits.”