Antony Gormley

EARLY SINGLE LEAD BODYCASE WORKS, 1983 - 1988

After the making of the three-part lead bodycase works, I started making single lead bodycases for a standing man: UNTITLED FOR FRANCIS, BREATH, ADDRESS, PART, ASK, STANDING GROUND, PEER, ACROSS THE AIR, MOMENT. These works tried to repossess the standing male figure, but in a different way from heroic sculpture. UNTITLED FOR FRANCIS uses the allusion to the stigmata to make five eye-shaped holes that give access to the darkness of the body. BREATH has bullet holes of the same calibre as SEEDS and the gun in FRUITS OF THE EARTH.

STANDING GROUND again reinforces the relation between the horizontal of the arms and the horizon later found in WORK. PEER allows the two ends of the spinal column to look at each other and engages the tension between sexuality and intelligence. ADDRESS attempts to communicate across distance using a Tibetan tongue greeting. MOMENT suggests an ecstatic point of disequilibrium. INTO THE LIGHT AND OUT OF THE DARK are enclosed darkness made visible. BOX is a self-referential empty case in human form. Trying to link an internal state with a thing, with reference to the "I" box of Robert Morris, or the black buried cube of Tony Smith. BOX, NIGHT, FREE OBJECT, all deal with this objective correlative for the subjective space: the darkness of the body, relating sometimes to melancholy and to the night sky, as in NIGHT. These isolated, crouching self-reflexive works culminate with PROOF a bodycase in the form of giving birth or shitting, a reference to self determination through the production of another object that has been gestated through the body.

The last group of single bodycases deal directly with the surface of the earth like RISE, PLATEAU, DESERT FOR WALTER, ending with CLOSE. All of them try to deal with the horizontal of the ground and the relationship between the skin of the body to the skin of the earth. DESERT FOR WALTER is a work for Walter de Maria: with one eye open and one arm out, it is a direct reference to his mile-long chalk drawing. CLOSE tries to reconcile through the body the forces of centrifuge and gravity.

The culmination of these investigations was ANOTHER SINGULARITY and CRITICAL MASS I. CRITICAL MASS I has six clear positions like a dice: it has no correct way up or orientation.

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NIGHT

NIGHT, 1983
Lead, air and fibreglass
79 x 41 x 65 cm

UNTITLED [SLEEPING FIGURE]

UNTITLED [SLEEPING FIGURE], 1983
Lead, granite, plaster and fibreglass
33 x 212 x 93 cm

UNTITLED [DIVING FIGURE]

UNTITLED [DIVING FIGURE], 1983
Lead, fibreglass, plaster and air
Board: 76 x 137 x 25 cm, Figure: 78 x 40 x 22 cm

BOX

BOX, 1983
Lead, fibreglass and air
64 x 60 x 60 cm

FILL

FILL, 1983
Lead, fibreglass and plaster
25 x 203 x 205 cm

RISE, 1983- 1984

RISE, 1983- 1984
Lead, fibreglass, plaster and air
30 x 58 x 190 cm

REACH

REACH, 1983
Lead, fibreglass and plaster
90 x 195 x 66 cm

HOLD

HOLD, 1983
Lead, fibreglass, plaster and clay
160 x 90 x 65 cm

PROOF

PROOF, 1983
Lead, fibreglass, plaster and air
80 x 56 x 80 cm

VENT

VENT, 1983
Lead, plaster, and fibreglass
178 x 48 x 50 cm

ADDRESS

ADDRESS, 1983
Lead, fibreglass, plaster, and air
168 x 50 x 66 cm

PEER

PEER, 1984
Lead, plaster and fibreglass
188 x 50 x 43 cm

MOMENT

MOMENT, 1985
Lead, fibreglass, plaster and air
206 x 67 x 30 cm

A VIEW: A PLACE

A VIEW: A PLACE, 1985
Lead, fibreglass and plaster
188 x 119 x 34 cm

UNTITLED [FOR FRANCIS]

UNTITLED [FOR FRANCIS], 1986
Lead, fibreglass and plaster
188 x 119 x 34 cm

SOUND I

SOUND I, 1986
Lead, fibreglass and water
188 x 60 x 45 cm

MEMBRANE, 1986

MEMBRANE, 1986
Lead, fibreglass and plaster
192.7 x 172 x 36 cm
Photograph by Stephen White, London

SOUND II, 1986

SOUND II, 1986
Lead, fibreglass and water
188 x 60 x 45 cm
Permanent installation Winchester Cathedral, Winchester, England
Photograph by Louis Bustam

FACING THE WORLD

FACING THE WORLD, 1986
Lead, fibreglass, plaster and air
38.5 x 108 x 196 cm

PLATEAU

PLATEAU, 1985
Lead, plaster, fibreglass and air
50 x 53 x 176 cm

UNTITLED

UNTITLED, 1985
Lead, fibreglass, plaster and air
197 x 54 x 35 cm

STANDING GROUND

STANDING GROUND, 1986
Lead, fibreglass, plaster and air
193 x 191 x 35 cm

INTO THE LIGHT, 1986-87

INTO THE LIGHT, 1986-87
Lead, fibreglass, plaster and air
193 x 50 x 38 cm
Photograph by Stephen White, London

SEAM

SEAM, 1988
Lead, fibreglass, plaster and air
50 x 197 x 43 cm

SEEING AND BELIEVING

SEEING AND BELIEVING, 1988
Lead, fibreglass and plaster
192 x 155 x 38 cm