A Quote by Antony Gormley

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? — © Antony Gormley
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?
There is nothing more terrible, I learned, than having to face the objects of a dead man. Things are inert: that have meaning only in function of the life that makes use of them. When that life ends, the things change, even though they remain the same. […] they say something to us, standing there not as objects but as remnants of thought, of consciousness, emblems of the solitude in which a man comes to make decisions about himself.
This part of optics, when well understood, shows us how we may make things a very long distance off appear as if placed very close, and large near things appear very small, and how we may make small things placed at a distance appear any size we want, so that it may be possible for us to read the smallest letters at incredible distances, or to count sand, or seed, or any sort or minute objects.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
Change isn't optional, and creation isn't something that happened a long time ago and then ended. It's ongoing, and we are invited to be a part of it. The question for us is 'what will we create in this new day?' How will we make it count? How will we nourish the things that matter, and stand in the way of injustice in the small ways that add up to the arc of history? You are invited to participate in the creation of this day.
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
People? People are chaotic quiddities living in one cave each. They pass the hours in amorous grudge and playback and thought experiment. At the campfire they put the usual fraction on exhibit, and listen to their own silent gibber about how they're feeling and how they're going down. We've been there. Death helps. Death gives us something to do. Because it's a fulltime job looking the other way.
The one thing we should address is how design can play a role in the psychological durability of objects, to think of how objects can be engineered in a way that they will be good over time.
I have a studio in the country - in the woods - but my paintings look more real to me than what is outdoors. You walk outside; the rocks are inert; even the clouds are inert. It makes me feel a little better. But I do have a faith that it is possible to make a living thing, not a diagram of what I have been thinking: to posit with paint something living, something that changes each day.
The way that light hits objects, I think, is one of the more important things that sculpture and photography share.
One of the sweet things about pain and sorrow is that they show us how well we are loved, how much kindness there is in the world, and how easily we can make others happy in the same way when they need help and sympathy.
These men, in teaching us how to die, have at the same time taught us how to live. If this man's acts and words do not create a revival, it will be the severest possible satire on the acts and words that do. It is the best news that America has ever heard.... How many a man who was lately contemplating suicide has now something to live for!
Everything that you've learned: 'Make a lot of money, have a nice house'. But they never teach you at school how to relate, how to communicate with others, how to share values with others. ...They teach you how to make a living. You become an optometrist, he becomes a physicist, she becomes a structural engineer, he's an architect. In the future, none of that. Everybody is trained to be a generalist, so they understand different cultures, different values, how we get to be the way we are. So no-one can ever use you for war or killing anybody or hurting anybody
The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake.
Stories are in one way or another mirrors. We use them to explain to ourselves how the world works or how it doesn’t work. Like mirrors stories prepare us for the day to come. They distract us from the things in darkness.
It was not just that Ross Macdonald taught us how to write; he did something much more, he taught us how to read, and how to think about life, and maybe, in some small, but mattering way, how to live.
I liked the challenge of designing and building things, figuring out how something works and how to make it better or apply it in a different way.
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