Everyone surely knows AnthonyGormley, he's a sculptor, you know the Angel of the North, surely the best known and certainly the largest public sculpture in the country.
Latterly he's used an army of volunteers to be wrapped and turned into plaster casts, and in between times he turned a sizeable chunk of the Western Australian desert into a sculpture park with his isolated metal figures appearing out of the blistering heat.
AnthonyGormley does not think small and he works in and with the public, for as he proclaimed recently, 'I want to democratise the space of art.
Antony Gormley's most recent works have been brought together in three venues by a major collaboration between the Malmo Konsthall (Sept-Oct 93), the Tate Gallery Liverpool (Nov 93- Feb 94) and the Irish Museum of Modern Art where the work will be shown from (April 14-June 19).
Gormley received the Turner Prize, and gained a further international profile after being represented by gallerist Jay Jopling.
Gormley'sField for the British Isles continued to be remanifest.
Gormley made two piles of bread the size of a double bed and proceeded to eat the volume of his own body 'out of the bread', at the same time making the negative mould of his own body.
Gormley has made use of the horizon in a number of works including Land Sea and Air 1982 and Another place 1997 where the figures are set against the sea and sky and The Angel of the North towers into the sky like a celestial messenger.
Gormley’s success is in large part due to his intuitive explorations of the kind of presence initiated through Minimalism that bypasses the nature of representation while recapturing the possibility of metaphysical references to culture, and above all to the experience of the body.
Apparently, Antony Gormley is not aware of the irony when, in an attempt to stress that he is out at the invisible interior of his sculptures and not at their outer appearance, he provides all the works from this period with the title ‘lead, polyester and air’.
The sense of Antony Gormley’s sculptures is bestowed on them from the crosses in the polder behind the dike, conceived as being hollow against the background of Antony Gormley’s oeuvre.
Whereby Antony Gormley, rather than sealing the rebirth of the figure, out of fear of the dangers contained in the figure, prefers to regress to the numerous anti-mimetic trends against which he first seemed to be reacting.
Gormley is one of Britain's most important contemporary sculptors and this exhibition of his work at Tate St Ives will be the largest display of works by one artist ever to be shown at the gallery.
Field was made by a group of volunteers who were invited by Gormley to create a multitude of small figures out of thirty tons of clay, which were fired and placed to fill the gallery space.
Antony Gormley was born in 1950 in London, where he continues to live and work.
After the publication of this article Gormley received the Turner Prize, and gained a further international profile after being represented by gallerist Jay Jopling.
Gormley created a massive project in Gateshead, England, called the Angel of the North.
Gormley'sField for the British Isles continued to be remanifest (as often as the everything cover that carried this interview was copied by other magazines).
In mijn academiejaren een groot liefhebber van Gormley, dacht dat ik het inmiddels wel wist met het werk van de man die tegenwoordig zo'n beetje Engeland's officiële huisbeeldhouwer is. Toch wilde ik, al was het maar voor old times sake, de tentoonstelling graag zien en werd zo aangenaam verrast.
Hoogtepunt is Gormley's nieuwste installatie en titelwerk Blind Light: een glazen ruimte gevuld met een dikke witte mist waarin bezoekers - na kennis te hebben genomen van een voor allerlei gevaren waarschuwende tekst, bij binnengaan nadrukkelijk voorgehouden door een suppoost - kunnen ervaren hoe het is om elk gevoel van ruimte en begrenzing te missen.
Een beangstigende ervaring die juist datgene laat verdwijnen wat het thema van Gormley's werk is: het lichaam.
The last picture is outside my publisher's office block on Euston Road (and I think that may even be my editor's bicycle reflected in the window).
AnthonyGormley has used the same effect in his installation BLIND LIGHT.
Also used every cinematic cliché going: 'Well at least they didn't make the car didn't stutter,' said HS as we watched it rolling out of the garage onto the road...whereupon it did - on cue.
