Antony Gormley - Body Politic
They say in New York City you’re never more than six feet away from a rat. At some point in the future, London may need to coin a similar phrase regarding Antony Gormley statues. Discounting the fact that almost all of his work, whether a literal casting or stacked out of blocks, is frequently based on his own dimensions you can’t fault Gormley’s obsessive fascination with the body. Ever since humans learned how to paint in caves, artists have chosen to present humanity right back at itself as the most pure expression of what it means to be, well, human.
With rare exception, most of Gormley’s figures stand in a frozen, upright pose. They appear to be isolated from their surroundings, neither reacting to or with the environment in which they’ve been inserted. His latest body of bodies, however, presents five variations that will astound you with his ability to convey emotion using nothing more than boxy limbs, interconnected iron or a few bits of brick. Beginning outside the gallery, you’ll encounter the first of eight concrete sculptures that guide you through the show. They sit, they crouch, they clutch themselves tightly like a Roblox player that’s been sent to the naughty corner. Kneeling beside one, I aimed my flashlight into the lone, square orifice that represents a mouth, half expecting to see a soul illuminated inside.
Singular figures occupy the first two side rooms. One’s a towering giant that will give the world’s elite Jenga players envy. It’s too tall with awkward posture, and looks like it desperately needs a hug. The other is a Gormley-sized figure formed from steel ribbons that stretch taut from the floor, ceiling and side walls. It’s unclear if this is a man restrained in suspension, or an immaculate conception. A human emerging fully formed from the elements, as if to say: I am here. Across the hall, six ‘weave works’ are perfectly positioned for anyone who’s not a Gormley fan. These semi-transparent statues lay down and resist. They lean or butt their heads against the wall, as if to say “enough… we get it… is it over yet?” but the most overwhelming assault of human forms is yet to come.
Down the hall in White Cube’s most cavernous space you’ll find 244 figures composed from Cotswolds terracotta brick. Some sleep, some stretch, others appear in yoga poses. Each one is a unique configuration, based on a set of twenty different sized bricks. It’s fun to play spot the difference, until you come across some that distinctly stand out from the crowd. Except there are so many clustered together that once you look up from those immediately around you, it’s practically impossible to tell where one ends and another begins.
Gormley’s works are generally acknowledged as apolitical, but given the frequency of environmental and humanitarian crises in the world I found it hard not to see these 244 figures as a group desperately in need of shelter. The room reminds me of news footage of people setting up makeshift beds in orderly plots taped off inside gymnasiums, auditoriums and car parks. And yet I still managed to giggle at some of the contorted, awkward poses.
There’s no incorrect interpretation. Humanity’s range of emotion is complex. In the 18-minute video that accompanies the show, Gormley says “I am questioning the right of the statue to stand, and to stand for, anything.” Although listening to him discuss the purity of 300 million year old clay and say things like “the blocks have accepted their destiny” can be a bit like hearing Jony Ive pretentiously pontificate about the iPhone, hearing about his process, and seeing how these works are made, will give you a new appreciation for the rigorous detail it takes to create such an emotive body of work that literally has no face.
Plan your visit
‘Body Politic’ runs until 28 Jan.
Visit whitecube.com and follow @whitecube on Instagram for more info about the venue.
Visit antonygormley.com and the Antony Gormley Wikipedia page for more info about the artist.
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