A Quote by Antony Gormley
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.
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With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.
I don't know the rules of grammar... If you're trying to persuade people to do something, or buy something, it seems to me you should use their language, the language they use every day, the language in which they think. We try to write in the vernacular.
I think I get in trouble sometimes, especially when it's like I need to be easier on [my] kids because maybe I'm a rule-follower now. I'll look at something like the kids' coloring or something and I'm like, "That's not the way that marker should be used." All imagination is gone, and it's just like, "Here's the proper way that we use a marker," you know? Maybe that's a dad thing.
Architecture is really about well-being. I think that people want to feel good in a space... On the one hand it's about shelter, but it's also about pleasure. The intention is to really carve out of a city civic spaces and the more it is accessible to a much larger mass in public and it's about people enjoying that space. That makes life that much better. If you think about housing, education, whether schools and hospitals, these are all very interesting projects because in the way you interpret this special experience.
You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately. Transparency is a characteristic of Japanese architecture; I try to use light and natural materials to get a new kind of transparency.
Bistromathics itself is simply a revolutionary new way of understanding the behavior of numbers. Just as Einstein observed that space was not an absolute but depended on the observer's movement in space, and that time was not an absolute, but depended on the observer's movement in time, so it is now realized that numbers are not absolute, but depend on the observer's movement in restaurants.
A chair, it's like a sculpture. It starts as a thought and then becomes an idea, something I might think about for years. When the time is right, I express it on paper, usually as a simple line in space. Finally, it takes shape.
Body language is essential for an actress, even if you don't use your body in an athletic way. Just to be free, to use it like your voice. A body can be small and have incredible violence. A body talks.
It's more about balance for me. I used to be an all or nothing person. And now I would rather have a lifestyle change - rather than use the word 'diet' - where 90 percent of the time spend my life that way and 10 percent of the time have fun and do what my body feels like it needs or craves.
One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.
One thing that you and I know is language. Another thing that you and I know is how objects behave in perceptual space. We have a whole mass of complex ways of understanding what is the nature of visual space. A proper part of psychology ought to be, and in recent years has been, an effort to try to discover the principles of how we organize visual space. I would say that the same is true of every domain of psychology, of human studies.
The earlier, more analytic impulse was to use very rational but kind of absurd techniques or tendencies—mapping, charting, and architecture—to try and make sense of who I was in my time and space and political environment. But there’s only so much truth to a theoretical understanding of something.
When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art.
I literally think that if you're in this business, it has to be the only thing you can and want to do, because it's so hard. You have to be fully committed - and partially insane - to wake up every morning and be like, "I'm an actor." I have it in my blood. It's in every pore of my body. There's always something awesome about every project, even with the worst ones. I try to remind myself every time I think about complaining that there are way worse jobs than mine.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.
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