He has never pursued realism: there are more cubes than curves to Sir Antony’s bodies
SIR ANTONY GORMLEY is best known for a heavenly body. His 20-metre-high “Angel of the North” has dominated the landscape near Gateshead, in north-east England, for more than 20 years. But his art has always centred on the human body, in most cases his own. That includes the angel.
As a student in the 1970s, Sir Antony felt torn between art as revolution and art as a continuum and decided to reconcile the two by focusing on the body. Yet he has never pursued realism: there are more cubes than curves to Sir Antony’s bodies. The body, he says, is a “place”— of memory, emotion and imagination. It is the interior realm that makes us human.
Sometimes it is up to the audience to provide the body. “Clearing VII” , for example, is composed of eight kilometres of coiled aluminium tube constrained only by the room’s ceiling, walls and floor. The visitor is invited to forge pathways through the tangle as gracefully or clumsily as they choose. Squeezed into another room is “Cave” , a set of vast cuboid voids that, were they to be seen from afar, might be recognisable as a hunched body lying on its side, with one knee raised.
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