#antony gormley
SculpturesbyAntony Gormley
British sculptor , 60, becomes primarily organic forms of her body in geometric shapes. Gormley and his team has developed software that can translate into geometric shapes in the body.
His most famous work is the ” Angel of the North “, a giant sculpture is 20 meters high and instead of arms, it has huge wings of an airplane and measure 54 wide.
These are very interesting sculptures made of different shapes always getting the same purpose, shape your body. It also has drawings very interesting.
Loving this.
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Gormley, Antony. A Case for an Angel III. 1990. Tate, London.
Lead, fiberglass, plaster, and steel
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To explore the corsetry idea further, I began to mold (rather than just document) the physical changes that the corset enforced on my body. Using wire and encasing my body, I first cast my waist, seeing how the volume, the mass of my body altered. By producing two of these, one with the corset and one without, the differences were quite shocking.
Due to the fact that I was casting my own body, I can draw similarities between my work and the sculptures produced by Antony Gormley. As like him I have created several molds of my own body, re-producing and re-creating myself in various media.
It also shows a progression from the exhibition piece of my arm, to ‘Rotting Features’ even though the scale has changed.
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Review of TED Talk artist, Antony Gormley
Gormley’s talk was based on combining the theoretical aspects of space, and time with the physical dimensions of the corporeal realm. He explains how it is continuous and everlasting, existing without boundaries both internally and to the exterior of the human form, using it as a catalyst for reaction and interaction.
Gormley claims that his interests lie within creating a subject and collective space that usually only resides within the darkness of the human body, specifically the mind. He views this as a place of imagination and of potential, a place in which there are no ‘things’ in this 'dimensionless, limitless, indeed endless’ space. Gormley states that the most profound quality is that is is objectless, which is in direct contrast to the very nature of sculpture as it produces a proposition of materials and scale, whereas paradoxically, this space does not have any of these. It is not inhabited, influenced or touched by foreign entities.
However, as a sculptor, he works directly with real places that have intimate elemental features that pose the question 'can the dark void of the mind be mapped?’ Best shown in ’Aperture VII’ 2010 as it clearly marks out the fundamentals of the human form, but without giving it any true weight or physicality.
(I found this a fascinating notion for a sculptor, and didn’t think that his lecture would be as philosophical and thought provoking as it was.)
Using the figure as a basis, a physicality in which his metaphysical void exists in the mind Gormley claims that the body is its boundaries, its limit in existence, making a formless entity visible and substantial. He did this through the use of an external membrane, his piece, 'Learning to See' (1988-98). A lead capsule that encases the space where Gormley once stood. It’s name originated due to the purpose; an object that sees reflectively and speaks about that connection with the darkness of the interior of the body, demonstrated with the darkness that resides within the capsule.
To develop this idea, Gormley now placed the negative cast against a natural element, the horizon ’Another Place’ (1997). The piece is looking out beyond the horizon, as these surrogate bodies question the relationship between the natural and the unnatural, the internal and the external; a relation with the real body and the infinite body. It raises the idea of the interior darkness and its bodily limit, stretching out to the horizon and whatever is beyond it.
’Blind Light’ (2007) consists of light, water vapor and vast openness which materialistically and aesthetically is contradictory to the encapsulated void of the figures previously demonstrated in Gormley’s work. However, this piece is a better, clearer representation of the ideas Gormley spoke of previously.
“You disappear, to others and to the self, visually and emotionally, you are now consciousness without object, you are the dark void that could only possibly exist internally, now it is external, it is real, freed from the dimensional and measured, ambient environment, the space is actually filled with people, disembodied voices when others approach your own body that they appear to be representations, when they appear close to the edge of the box, they are representations, representations in which the viewers become the viewed.” - Gormley
’Aperture VII' (2010)
'Learning to See' (1988-93)
'Another Place’ (1997)
'Blind Light’ (2007)
Reviewed by, Katie Varey
12/1/2014
Video can be viewed at:
Antony Gormley,
Capacitor,
2005
