Antony Gormley Quotes

'6 Times' is an attempt to reinvestigate the social responsibility of sculpture. The body in question is a particular body, but it doesn't really matter whose it is.
Art has to change things, and if it was immediately acceptable it would not be doing the job.
Art is the means by which we communicate what it feels like to be alive - in the past, that was mixed up with other illustrative duties, but that was still its central function that has been liberated in the art called modern.
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.
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.
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?
I always like to look for adventure when I go away. I have gone on several horse adventures with my wife - from Guangxi we went up to the High Tibetan region. We also went along the Hurunui River on horseback in the South Island of New Zealand.
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.
I feel terribly misunderstood; I feel terribly misunderstood.
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.
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.
I think that the equator could act as a great equalizer for all life on Earth, celebrated as the great energy belt of the planet. If all our energy grids were synchronized, the light side of the planet could provide energy for the dark side, according to the movement of the sun.
I used to think that the great thing about sculpture was that, like Stonehenge, it was something that stood against time in an adamantine way, and was an absolute mass in space. Now I try to use the language of architecture to redescribe the body as a place.
I want people to be excited about cooling towers and megasheds; they're as much part of our history as the rural barn.
I was educated by monks - I thank them dearly for the education they gave me, but I am no longer a Catholic.
I would say that the whole way that I have approached the body is as a space, not a thing - not an object to be improved, idealised or whatever, but simply to be dwelt in.
I'm trying to make work that is reflective and is encouraging of reflection.
If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.
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.
It is a depressing business talking to journalist.
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AuthorName
Antony Gormley
Profession
Artist
BirthDate
30 August, 1950
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