Antony Gormley’s sculptures are not merely figures; they are profound explorations of human existence in relation to space. Gormley, a British sculptor known for his monumental works like the Angel of the North, has a unique way of using the human form to spark a dialogue with the world around us. Often cast from his own body, his sculptures stand tall in both galleries and public spaces, prompting us to contemplate their own place in the universe.
Gormley’s creative process is as intriguing as the final pieces themselves. He has been known to use unconventional materials like bread to create molds, and his sculptures often push the boundaries of scale. One of his most famous works, the Angel of the North, stands a staggering 65 feet tall, forever gazing out over the English countryside. Gormley’s work has also sparked controversy, with some critics finding his sculptures to be overly imposing or even suggestive. However, there is no denying the power of his art to evoke emotion and inspire conversation.
Gormley’s sculptures are more than just impressive feats of engineering; they are portals to the human experience. By using the human form as a universal symbol, Gormley invites viewers to confront their own vulnerabilities, strengths, and place in the world. His work is a testament to the enduring power of art to challenge us, inspire us, and help us to see ourselves anew.
Prop, 2019, 80 mm weathering steel slab. Photograph by Stephen White & Co.Divided States: Supplicate I, 2006, mild steel blocks. Photograph by Stephen White & Co.Pile I, 2017, clay. Photograph by Stephen White, London.
Bearing I, 1987, lead, fibreglass, plaster and air. Berardo Collection, Lisbon, Portugal.Test: Buttress, 2021, cast iron. Photograph by Stephen White & Co.Three Ways: Mould Hole And Passage, 1981, lead, fibreglass and plaster. Tate Collection, London, England. Installation view, Tate Gallery, London, 2000. Photograph courtesy of Tate.
Angel of the North, 1998, steel. Permanent installation, Gateshead, England. Commissioned by Gateshead Metropolitan Borough Council, Gateshead, England. Photograph by Colin Cuthbert, Newcastle.Knot II, 2010, cast iron. Photograph by Stephen White & Co.Cotch XI, 2013, 4 mm square section stainless steel bar. Photograph by Stephen White & Co.
Turn II, 2008, cast iron. Photograph by Stephen White, London.Loop, 2021, cast iron. Photograph by Stephen White & Co.Lost Subject I, 1994, lead, fibreglass and air. Collection of The Israel Museum, Jerusalem, Israel.
Grasp II (Block), 2019, cast iron. Photograph by Stephen White & Co.Home And The World, 1986, lead, fibreglass, wood, plaster and air.Inside Australia, 2003, cast alloy of iron, molybdenum, iridium, vanadium and titanium, 51 elements based on 51 inhabitants of Menzies, Western Australia.
Mean II, 2013, cast iron. Photograph by Stephen White & Co.Critical Mass II, 1995, cast iron, 60 life-size elements; variable sizes. Photograph by Stephen White & Co.Big Bare, 2023, cast iron. Photograph by Stephen White & Co.
Grip, 2014, cast iron. Photograph by Clare Richardson, courtesy White Cube.Bed, 1980-81, bread and wax. Tate Collection, London, England.Exposure And Instrument, 1988, lead, fibreglass, air and alabaster, 30.5 × 30.5 × 30.5 cm, 2 egg/testicles: each 5 cm × 3.3 cm diameter, lead and fibreglass, 30.5 × 30.5 × 30.5 cm. Photograph by David Ward, London.Drawn, 2000/2007, cast iron, 8 elements. Installation view, White Cube, London, England. Photograph by Stephen White, London.
CEO-founder of Visualflood. A Brazilian fine art photographer, among other things, who loves visual arts, nature, science, and innovative technologies.
