Antony Gormley Quotes
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I have to say that I reject somewhat the distinction between something called art and something called public art. I think all art demands and desires to be seen.
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'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.
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My best travelling experience lasted several years: between 1971 and 1974 when I bummed around the East. All I had with me was a cooking pot, a stove, a map and blankets and a couple of dhotis.
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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.
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Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.
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I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves.
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I believe in the city as a natural human environment, but we must humanize it. It's art that will re-define public space in the 21st Century. We can make our cities diverse, inspirational places by putting art, dance and performance in all its forms into the matrix of street life.
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I would like to go to Kalimantan island in Sumatra to see the carvings and longhouse sculptures. I've also always wanted to look at the wood carvings along the Sepik River in New Guinea.
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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?
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I was educated by monks - I thank them dearly for the education they gave me, but I am no longer a Catholic.
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It is a depressing business talking to journalist.
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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.