British - Artist | August 30, 1950 -
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
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I feel terribly misunderstood; I feel terribly misunderstood.
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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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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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Cities have become places where we are controlled, by CCTV and other means, in the same way as machines are controlled. My works provide an imaginative space in which this can be challenged. It's like opening a window in a closed room.
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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 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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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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If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.
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It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.
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It's a wonderful thing to make work that is unadorned either by context, framing or label, that can exist in the changing conditions of light, weather, wind.
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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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