Antony Gormley
Antony Gormley
Sir Antony Mark David Gormley, OBEis a British sculptor. His best known works include the Angel of the North, a public sculpture in Gateshead in the North of England, commissioned in 1994 and erected in February 1998, Another Place on Crosby Beach near Liverpool, and Event Horizon, a multi-part site installation which premiered in London in 2007, around Madison Square in New York City, in 2010, in São Paulo, in 2012, and in Hong Kong in 2015-16...
NationalityBritish
ProfessionSculptor
Date of Birth30 August 1950
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I would like to go to Kalimantan island in Sumatra to see the carvings and longhouse sculptures. I've also always wanted to look at the wood carvings along the Sepik River in New Guinea.
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I think it's probably the Dutch who are to blame for starting the whole 'art business', because before they came along, art was attached to relatively stable structures, and it was everybody's. It was like going to the movies.
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I did spend a lot of time as a child very confused about whether I had a devil in me, or whether I was in a state of grace. I mean, these ideas are so potent to anybody with half an imagination.
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My best travelling experience lasted several years: between 1971 and 1974 when I bummed around the East. All I had with me was a cooking pot, a stove, a map and blankets and a couple of dhotis.
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Most big cities like London and Glasgow have great big rivers that are unmissable. What's brilliant about the Water of Leith is that it's so hidden. It's a secret.
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It's a wonderful thing to make work that is unadorned either by context, framing or label, that can exist in the changing conditions of light, weather, wind.
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The making of a whole person and the creation of true individuals can only happen by singing and dancing and making art.
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Western Australia is covered by granite, the largest single piece of Achaean rock that still lies on the surface of the, of, of the Earth, that's 2.5 to 2.9 billion years old. It's one of the most ancient and intact bits of the Earth's crust.
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How do you make the timelessness of inert, silent objects count for something? How to use the, in a way, dumbness of sculpture in a way that acts on us as living things?
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Cities have become places where we are controlled, by CCTV and other means, in the same way as machines are controlled. My works provide an imaginative space in which this can be challenged. It's like opening a window in a closed room.
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I think scale is about, in a way, the apprehension of proportion, and all the proportions that mean things to us as human beings are related to the body.
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Due to the failure of politics, which has become a process of middle-management, art has become one of the last open spaces to question core beliefs and to design a viable future. Art becomes an open space where we can ask fundamental questions about ourselves.
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The very first lead work that I made is called 'Land Sea and Air,' and is the enclosure of primal elements within that kind of carapace of lead.
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It doesn't matter if you can't speak the same language. If you have pictures, or better still, if you can draw things, then you can communicate anything to anyone.