A vast sea of small figures are tightly packed together, rubbing shoulders with one another to form a mass of throbbing energy. Gormley has worked on many versions of this project, but the original idea was conceived during a difficult phase in his career in the late 1980s when financial struggles constrained his ability to make large scale cast sculptures. The immediacy of clay appealed to him, as he explains, "...clay is so receptive to touch and carries the sensation of a moment so powerfully." As his idea grew, he gradually saw the possibilities of including others in the process of making, remembering, "... it took several years to work out that I shouldn't be manipulating it. The process of giving up making something specific was a long one, but in the end I knew I had to get away from the idea of being the author, the originator and the subject."
Each version of Field made by Gormley has been constructed as a collaborative project with a specific community, with sites including Cholula in Mexico, Porto Velho in Brazil, St Helens near Liverpool in the UK, Ostra Grevie in Sweden and Guangadong in China. Although based on the same instructions, every location produced their own unique versions of the project. The work was carried out by men, women and children alike, who could each make as many figures as they liked. All he asked for was that each was hand-sized and easy to hold, had deep eyes, and a head in proportion with the body. Sizes of figures varied considerably, ranging from 8 to 26cms tall, and each was air dried before being baked in a kiln.
Gormley then installed these figures into rooms or galleries, packing them tightly together to create a surging mass, temporarily constrained by the architecture of the display space. This mass is punctuated by the eyes, which give the figures an unnerving sense of consciousness, returning the viewer's gaze. This, in turn, subverts the traditional idea of viewer and viewed. Gormley treated every individual figure with the utmost respect, commenting that "Each one comes from a lived moment. It is a materialisation of a moment of lived time, in the same way that my other work is...and they have a very particular presence, each of them." When seen as part of such a large group, the minutiae of each individual figure becomes lost as they are absorbed by the crowd, but their collective impact is a powerful metaphor of the strength made possible when people come together, a message which helped to win Gormley the Turner Prize in 1994 with Field for the British Isles (1993).
Fired Clay - Installation view: CCBB, Rio di Janeiro