#gormley

[aura-eden]

ANTONY GORMLEY, Three Calls: Pass Cast and Plumb, 1983

[escolhidos-escritos]

Pilha II, 2018 Antony Gormley argila, 34,7x71,9x71,9cm (14 elementos)

[travelling-my-little-pony]

Surf Dancer is admiring the Anthony Gormley sculpture "Sound II" in the flooded crypt of Winchester Cathedral.

In Hampshire, England.

[mensministry]

"Gormley Suite," The Beaumont Hotel London, United Kingdom

[noosphe-re]

I use the word acupuncture in the sense of revitalising the clogged energy of a site. Here is a place that can now be seen as an artefact in the manner of a pyramid, labyrinth or catacomb, at the intersection of geology and human ingenuity. It can help us tune into our own body-response to a particular built habitat. I consider all architecture as the second body.

Antony Gormley, Interview With Arabella Natalini, From Human, Forma Edizioni, Florence, Italy, 2015 (antonygormley.com)

[blackswaneuroparedux]

You’ve got to see what art does as a first-hand experience with people that haven’t paid for a ticket, or don’t feel that they are the cultural elite. That’s been really important to me - put the work in the street, on the mountain, on the beach, and see what happens.

- Antony Gormley

‘Another Place’ is an art installation on the coast by British artist Antony Gormley. One hundred life size cast-iron statues - each weighing 650 kilos - modelled on Gormley’s own body were installed in 2005 at Crosby beach, spread across 3km of the foreshore and stretching almost 1km out to sea. All of these statues were looking out to sea, staring at the horizon in silent expectation. Gormley is also the artist of the famous ‘Angel of the North’ sculpture in Gateshead. According to Antony Gormley, Another Place harnesses the ebb and flow of the tide to explore man's relationship with nature. He explained: The seaside is a good place to do this. Here time is tested by tide, architecture by the elements and the prevalence of sky seems to question the earth's substance. In this work human life is tested against planetary time. This sculpture exposes to light and time the nakedness of a particular and peculiar body. It is no hero, no ideal, just the industrially reproduced body of a middle-aged man trying to remain standing and trying to breathe, facing a horizon busy with ships moving materials and manufactured things around the planet.” Having previously been seen in Cuxhaven in Germany, Stavanger in Norway, and De Panne in Belgium, 'Another Place' became a permanent feature in the UK, at Crosby Beach. The installation was only supposed to last 16 months in Crosby, and the men were almost sent packing early amid safety complaints including cases of the coastguard being called out to “rescue” them. Eighteen years on, the artwork has become a tourist attraction for the Sefton borough of Merseyside and a beloved local institution.

[whataniceone2]

Cast iron statue at ‘Another Place’ by Antony Gormley, Crosby beach, England.  There are 100 of them, all naked, facing the sea and subject to the tides.  This shot shows a statue ‘looking’ at ships. 

Speaking in 2005, Antony Gormley said the installation was the poetic response to the individual and universal sentiments associated with emigration – sadness at leaving, but the hope of a new future in Another Place.

©wano

[goodwilltemptation]

Antony Gormley's Waste Man (2006)

WASTE MAN was made over a six-week period at the end of summer 2006, out of about 30 tonnes of waste materials that had been gathered by the Thanet waste disposal services and by local people, and deposited in Dreamland, the area of Margate next to the sea and close to the station that had traditionally been the site of a vast funfair.

Some works are made in wax to be cast in bronze; this was made in domestic waste to be cast in fire.

This work was a collective body (similar to HAVMANN or the ANGEL OF THE NORTH) made from the raw materials of people's home lives: beds, tables, dining chairs, toilet seats, desks, pianos and rubbish (all the limiting baggage of the householder), transformed into energy.

The work plays a part in Penny Woolcock's Margate Exodus, a re-telling of the Bible story of the enslavement and liberation of the Jewish people. For Penny Woolcock, this sculpture was an image of the burning bush that gave Moses his mission. For me, it was more a sign of those who had been dispossessed or refused a place, standing up defiantly to be recognised. The piece burnt in 32 minutes, sending showers of sparks over the crowd of spectators.