0:00:40 > 0:00:44From the age of six, it was a household rule
0:00:44 > 0:00:48that after lunch you had to go upstairs and have a rest.
0:00:50 > 0:00:51I would have to go to this room,
0:00:51 > 0:00:53and the sun came pouring in there
0:00:53 > 0:00:55and it was very, very warm.
0:00:55 > 0:00:58And I would have to lie on this single bed,
0:00:58 > 0:01:01not moving, with my eyes closed.
0:01:03 > 0:01:06I would be in this highly...
0:01:06 > 0:01:09so claustrophobic, red-hot space,
0:01:09 > 0:01:12held in this tiny prison behind my eyes.
0:01:17 > 0:01:21After a while, I got to grips with this space
0:01:21 > 0:01:24and I learned how to dwell in it,
0:01:24 > 0:01:27and this tight, claustrophobic,
0:01:27 > 0:01:31oppressive, hot space
0:01:31 > 0:01:36would become darker and cooler and bigger...
0:01:40 > 0:01:43..until I was highly conscious
0:01:43 > 0:01:50but floating in this infinite, deep, blue, dark infinity.
0:01:54 > 0:01:56Antony Gormley is a sculptor.
0:01:58 > 0:02:03For more than 40 years, his work has dealt with what it feels like
0:02:03 > 0:02:05to inhabit a human body.
0:02:18 > 0:02:20In tonight's Imagine...
0:02:20 > 0:02:23we follow Antony Gormley through an extraordinary year,
0:02:23 > 0:02:25as he grapples with past work...
0:02:25 > 0:02:27Yes! Yes!
0:02:27 > 0:02:30..and experiments with a new visual language.
0:02:36 > 0:02:39I REALLY believe this -
0:02:39 > 0:02:43that sculpture, in its crude materiality
0:02:43 > 0:02:46can touch us
0:02:46 > 0:02:49and liberate feelings that we wouldn't know that we had.
0:02:52 > 0:02:53LOUD CLANG
0:03:06 > 0:03:09In the late '70s, Gormley made a series of works
0:03:09 > 0:03:12wrapping found objects in lead.
0:03:17 > 0:03:18As the process evolved,
0:03:18 > 0:03:21he set aside these other things
0:03:21 > 0:03:24and began to make casts from his own body.
0:03:30 > 0:03:34I am that object.
0:03:36 > 0:03:39And that seems to me an enormous advantage.
0:03:39 > 0:03:41It is so simple, really.
0:03:41 > 0:03:45I mean, you cannot ever be inside another substance
0:03:45 > 0:03:48as you are inside your own body.
0:04:05 > 0:04:07I am simply here
0:04:07 > 0:04:09using my own existence,
0:04:09 > 0:04:11my own body,
0:04:11 > 0:04:13as the model.
0:04:13 > 0:04:16The subject,
0:04:16 > 0:04:18the tool and the instrument.
0:04:18 > 0:04:21But I'm not making pictures of it.
0:04:23 > 0:04:30My work is about what it means to inhabit a human life.
0:04:32 > 0:04:36When we close our eyes, we are in a space that has no edges,
0:04:36 > 0:04:38that has no dimension,
0:04:38 > 0:04:40that is immeasurable,
0:04:40 > 0:04:44and is equivalent to the deep space of the cosmos.
0:04:44 > 0:04:46CRACKLE OF ELECTRICITY
0:05:07 > 0:05:09Gormley's work has evolved
0:05:09 > 0:05:13to incorporate experimental techniques and materials.
0:05:16 > 0:05:19But the primary source continues to be his own body.
0:05:31 > 0:05:36Instead of plaster casts, Gormley now uses an infrared scanner.
0:05:47 > 0:05:50Bespoke computer software allows him
0:05:50 > 0:05:55to push the original shape further and further into abstraction.
0:06:25 > 0:06:28Today I am joining Antony and his studio team
0:06:28 > 0:06:31as they travel to see an exhibition
0:06:31 > 0:06:34of his most recent work newly installed in Paris.
0:06:39 > 0:06:42These last few years have been enormously productive.
0:06:42 > 0:06:45Gormley now employs a team of assistants
0:06:45 > 0:06:49working across two studios in London and in the north-east.
0:07:00 > 0:07:03All of the work in the exhibition Second Body
0:07:03 > 0:07:05has been produced in the last two years.
0:07:42 > 0:07:45While some of the work may appear abstract,
0:07:45 > 0:07:48its point of reference is always the human body.
0:07:48 > 0:07:53In the 1st century BC, the Roman architect Vitruvius
0:07:53 > 0:07:56defined the proportions of the ideal human body
0:07:56 > 0:07:59in what came to be known as Vitruvian man.
0:07:59 > 0:08:04Vitruvius says the head has to go into the body eight times.
0:08:04 > 0:08:09That between the chin and the hairline is one hand's breadth.
0:08:09 > 0:08:12One hand's breadth is exactly this.
0:08:14 > 0:08:16This is putting space itself as the subject.
0:08:22 > 0:08:27In the next room, a series of small ink drawings share a common idea
0:08:27 > 0:08:31with the enormous steel structures of the room beyond.
0:08:50 > 0:08:51These are funny drawings in a way,
0:08:51 > 0:08:55because they demand a certain precision.
0:09:01 > 0:09:04And they have to have a certain geometric accuracy.
0:09:05 > 0:09:07So that you...
0:09:09 > 0:09:12..you believe in the volumes.
0:09:16 > 0:09:19I'm just thinking about the darkness that you can't see
0:09:19 > 0:09:22inside those big cases.
0:09:30 > 0:09:34I suppose I'm trying to evoke both how it's constructed...
0:09:37 > 0:09:40..but, perhaps, also what it might feel like.
0:09:53 > 0:09:57What these drawings are about is acknowledging the fact
0:09:57 > 0:10:02that we have a direct apprehension of the darkness of the body.
0:10:05 > 0:10:10What is that space that we inhabit when we close our eyes...
0:10:10 > 0:10:13that is without dimension...
0:10:15 > 0:10:17..without bounding condition...
0:10:18 > 0:10:23..that seemingly allows us infinite extension?
0:10:27 > 0:10:29LOUD CLANG
0:10:34 > 0:10:37Antony Gormley was born in London in 1950,
0:10:37 > 0:10:39the youngest of seven children.
0:10:39 > 0:10:42His parents were devout Catholics.
0:10:42 > 0:10:46We were christened with the initials AMDG -
0:10:46 > 0:10:49Ad maiorem Dei gloriam -
0:10:49 > 0:10:51for the greater glory of God.
0:10:51 > 0:10:53My name is Antony Mark David Gormley,
0:10:53 > 0:10:55but they knew what they were doing.
0:10:55 > 0:10:58So it was an inference not a, as it were...
0:10:58 > 0:11:00- HE LAUGHS - ..dedication.
0:11:00 > 0:11:04That was a big weight to stick around my neck.
0:11:04 > 0:11:05Hey. Yeah.
0:11:05 > 0:11:08Great expectations!
0:11:08 > 0:11:09Then I went on to school
0:11:09 > 0:11:13and, actually, you had to write that the top of your prep.
0:11:13 > 0:11:16And in a Catholic school, no-one was in any doubt what that meant?
0:11:16 > 0:11:18No. No. Absolutely not.
0:11:18 > 0:11:21Ad maiorem Dei gloriam was just, you know, one of those...
0:11:21 > 0:11:23You know, you breathed it, really.
0:11:27 > 0:11:28After prep school,
0:11:28 > 0:11:32Gormley was sent to board at Ampleforth College in Yorkshire
0:11:32 > 0:11:35where he was taught by Benedictine monks.
0:11:37 > 0:11:40Did you feel uncomfortable there, or did you somehow...?
0:11:40 > 0:11:43No, I... I... I bought it all - hook, line and sinker.
0:11:43 > 0:11:46Because that was the only world I knew.
0:11:46 > 0:11:48And it was...absolutist.
0:11:58 > 0:12:01Your father actually organised pilgrimages to Lourdes,
0:12:01 > 0:12:05and you went there yourself as a volunteer.
0:12:05 > 0:12:10Aged 17, I hitchhiked down to Lourdes, shrine of Bernadette
0:12:10 > 0:12:13and Our Lady of Lourdes,
0:12:13 > 0:12:15place of miracles.
0:12:15 > 0:12:17Erm...
0:12:17 > 0:12:20where I worked as a brancardier for...
0:12:20 > 0:12:23probably two and a half weeks...
0:12:26 > 0:12:28..carrying the sick,
0:12:28 > 0:12:30working in the shrine,
0:12:30 > 0:12:31undressing paraplegics,
0:12:31 > 0:12:35putting them into rubber harnesses
0:12:35 > 0:12:39and dipping them with full-body immersion
0:12:39 > 0:12:43into the ice-cold water of the spring.
0:12:47 > 0:12:48HE EXHALES HEAVILY
0:12:48 > 0:12:50You know...
0:12:50 > 0:12:52I mean, real, real suffering,
0:12:52 > 0:12:56and the illusion and delusion
0:12:56 > 0:12:59of the expected miracles.
0:13:02 > 0:13:05It just makes you very angry, I'm afraid.
0:13:06 > 0:13:09Well, I mean, thinking about it now, it's just like this...
0:13:10 > 0:13:13..collective hallucination.
0:13:21 > 0:13:27I think that sculpture inevitably talks about the big unknown,
0:13:27 > 0:13:32of what lies on the other side of the horizon of life.
0:13:32 > 0:13:33So, death.
0:13:40 > 0:13:43The sculpture deals with death head-on.
0:13:51 > 0:13:54We are born into the world alone
0:13:54 > 0:13:56and we leave it alone and, in the end,
0:13:56 > 0:14:00we don't know what the next stage -
0:14:00 > 0:14:03having had a precious human life - is.
0:14:08 > 0:14:10I think the truth is that...
0:14:10 > 0:14:13And this is what every Catholic will say,
0:14:13 > 0:14:15if you were brought up a Catholic
0:14:15 > 0:14:18you may lose your Catholicism,
0:14:18 > 0:14:21but the fact is it has marked you for life.
0:14:23 > 0:14:29And the absolute need to replace its belief system
0:14:29 > 0:14:31with something else
0:14:31 > 0:14:33becomes your life's work.
0:14:37 > 0:14:42This is Antony Gormley in India at the age of 23.
0:14:42 > 0:14:45The Catholic faith that had dominated his childhood was gone.
0:14:47 > 0:14:49In 1968, he went to Cambridge
0:14:49 > 0:14:52to study archaeology, anthropology and art history.
0:14:53 > 0:14:56I became aware of, as it were, the alternatives.
0:14:56 > 0:15:00And right from the beginning, I wanted to experience
0:15:00 > 0:15:02those alternatives.
0:15:04 > 0:15:07After graduating, he set off on the hippie trail
0:15:07 > 0:15:10travelling through Turkey, Syria and Afghanistan
0:15:10 > 0:15:13until he found himself in India.
0:15:19 > 0:15:22India was the beginning of everything
0:15:22 > 0:15:25in terms of making sense of my life,
0:15:25 > 0:15:29and finding a means of doing so.
0:15:30 > 0:15:32You stayed there in India for two years,
0:15:32 > 0:15:36studying meditation with a Buddhist teacher.
0:15:36 > 0:15:38I found that Vipassana meditation
0:15:38 > 0:15:42took me back to a place I'd already known as a child.
0:15:42 > 0:15:48All of the historical, factual learning that I had been given
0:15:48 > 0:15:52as a result of a classical education fell away.
0:15:52 > 0:15:54I thought, "This is a path
0:15:54 > 0:15:56"I could follow to the end.
0:15:56 > 0:16:00"I could try to achieve enlightenment."
0:16:00 > 0:16:03And I think at that point, I realised that this was
0:16:03 > 0:16:06in some senses an escape,
0:16:06 > 0:16:10and that it would be better to try
0:16:10 > 0:16:12to come back to my own culture,
0:16:12 > 0:16:19and...and bring into it whatever realisations I had had.
0:16:24 > 0:16:27These experiences in India
0:16:27 > 0:16:30had already planted the seed for his first sculpture.
0:16:31 > 0:16:34I'm looking at Sleeping Place.
0:16:34 > 0:16:36Where did that image come from?
0:16:36 > 0:16:40At some point I had all my worldly goods removed.
0:16:40 > 0:16:42I mean, they were nicked,
0:16:42 > 0:16:46and I lived on the streets of Calcutta
0:16:46 > 0:16:49for about two weeks without any money.
0:16:51 > 0:16:53All the world would be... I mean, the shouting!
0:16:53 > 0:16:55"Chai! Chai! Chai! Chai!"
0:16:55 > 0:16:57Kind of, you know, people with luggage and the rickshaws
0:16:57 > 0:17:00and the tuk-tuks all going...
0:17:00 > 0:17:06And there would be this silent, still, dhoti-covered body.
0:17:06 > 0:17:09You wouldn't know whether it was dead or alive at first sight.
0:17:11 > 0:17:14The image of these...
0:17:16 > 0:17:21..so vulnerable, and yet so pure shapes
0:17:21 > 0:17:24that are a form of architecture.
0:17:28 > 0:17:30Sleeping Place was a way
0:17:30 > 0:17:33of just bringing that back,
0:17:34 > 0:17:39..making that experience again as an object.
0:17:41 > 0:17:44It talks about our need for shelter and security.
0:17:45 > 0:17:49It, in a way, also talks about what Plato said...
0:17:51 > 0:17:55..that we will never know what is inside another person's mind,
0:17:55 > 0:17:59that there is, as it were, an infinity of possibility
0:17:59 > 0:18:03that lies on the other side of that skin.
0:18:05 > 0:18:08Antony returned to England in 1974
0:18:08 > 0:18:11and enrolled in art college.
0:18:11 > 0:18:13It was a time of great upheaval in British art.
0:18:15 > 0:18:19Carl Andre's notorious bricks had caused an outcry
0:18:19 > 0:18:21when they were bought by the Tate.
0:18:21 > 0:18:23It's a pile of bricks!
0:18:26 > 0:18:28Michelangelo said, I think,
0:18:28 > 0:18:32"My sculptures consist in removing what is not the figure
0:18:32 > 0:18:34"from the block of stone."
0:18:34 > 0:18:35Erm...
0:18:35 > 0:18:38perhaps I have just taken a block of stone and not removed anything.
0:18:42 > 0:18:45In 1978, as a postgraduate student,
0:18:45 > 0:18:48Gormley saw an exhibition of Carl Andre's work
0:18:48 > 0:18:50at London's Whitechapel Gallery.
0:18:52 > 0:18:56The exhibition was curated by a dynamic young gallery director,
0:18:56 > 0:18:58Nicholas Serota -
0:18:58 > 0:19:02fast becoming one of the most influential figures in British art.
0:19:02 > 0:19:06Three years later, Serota gave Antony Gormley
0:19:06 > 0:19:08the chance to use this same space
0:19:08 > 0:19:11for his first solo show.
0:19:11 > 0:19:14How did Antony present himself to you? How confident was he?
0:19:14 > 0:19:16Did he know what he was doing?
0:19:16 > 0:19:17What was he like?
0:19:17 > 0:19:23He was someone who had proceeded actually quite slowly
0:19:23 > 0:19:26through his 20s and into the early 30s,
0:19:26 > 0:19:31gradually absorbing all these experiences of travelling in India,
0:19:31 > 0:19:33of looking at sculpture,
0:19:33 > 0:19:35of being at art school.
0:19:35 > 0:19:38And slowly this force was growing within him
0:19:38 > 0:19:42and within the space of a year or two,
0:19:42 > 0:19:45he formed that body of work
0:19:45 > 0:19:49we now recognise as being quintessentially Antony Gormley.
0:19:49 > 0:19:53The centrepiece of that first exhibition is now on display
0:19:53 > 0:19:55at Tate Britain.
0:19:59 > 0:20:05It's made from 8,640 slices of Mother's Pride white bread.
0:20:07 > 0:20:10I look at the bread and I think of the Bricks,
0:20:10 > 0:20:13and I think of this sort of humanising of abstraction.
0:20:13 > 0:20:17It is one of the first pieces that uses his whole body.
0:20:17 > 0:20:19Here, in a negative form, obviously,
0:20:19 > 0:20:21but...he ate the bread.
0:20:21 > 0:20:23Oh, that's right. Of course!
0:20:23 > 0:20:26He ate the bread to create the form of his body.
0:20:26 > 0:20:29I mean, I think it was Antony's intention
0:20:29 > 0:20:32that he should take the most basic form of bread
0:20:32 > 0:20:34that was available in any supermarket.
0:20:34 > 0:20:37He coated each of these pieces in paraffin wax
0:20:37 > 0:20:40in an attempt to preserve it, but, of course,
0:20:40 > 0:20:43there's a certain amount of mould has grown.
0:20:43 > 0:20:45- I see what you mean about toothmarks and stuff.- Yes.
0:20:45 > 0:20:49Unfortunately, for Anthony there were problems he hadn't foreseen.
0:20:51 > 0:20:54Bed was the first work of mine
0:20:54 > 0:20:57that was ever sold.
0:20:57 > 0:21:00But on the day that they exposed it
0:21:00 > 0:21:02for the trustees to sign off the acquisition,
0:21:02 > 0:21:06somebody noticed this movement on the surface,
0:21:06 > 0:21:09and some conservator had
0:21:09 > 0:21:10a close look at this
0:21:10 > 0:21:14and declared that there was an infestation
0:21:14 > 0:21:15of Indian bookworm,
0:21:15 > 0:21:18and the source of the Indian bookworm was
0:21:18 > 0:21:20my bed.
0:21:20 > 0:21:23Which had become a breeding ground for these little creatures.
0:21:23 > 0:21:25Anyway, it was immediately...
0:21:25 > 0:21:27The room was isolated,
0:21:27 > 0:21:32the work was de-acquisitioned and sent to Rentokil
0:21:32 > 0:21:36where it spent - yeah - a lot of time
0:21:36 > 0:21:39until all living life within it
0:21:39 > 0:21:41had been extinguished.
0:21:44 > 0:21:46Today, Gormley's bread bed
0:21:46 > 0:21:50shares its space with works by Anish Kapoor and Richard Long.
0:21:53 > 0:21:56But in the next room hang works by someone
0:21:56 > 0:21:59whose role in his creative life was much more significant.
0:22:03 > 0:22:07His wife, the artist Vicken Parsons.
0:22:21 > 0:22:26She became a vital accomplice in the next stage of his work.
0:22:41 > 0:22:46It's evidence of the necessary trust between two people.
0:22:52 > 0:22:55We did total body encasement
0:22:55 > 0:22:59which meant that you were essentially
0:22:59 > 0:23:00bound,
0:23:00 > 0:23:02gagged
0:23:02 > 0:23:04and, er, imprisoned.
0:23:06 > 0:23:08How are we going to get you out?
0:23:08 > 0:23:12Along the gap between my thighs and my chest.
0:23:12 > 0:23:17For the first 15 years, she was my primary assistant.
0:23:17 > 0:23:21She did all of the body moulding,
0:23:21 > 0:23:23and cut me out.
0:23:23 > 0:23:25And I've got scars to prove it.
0:23:25 > 0:23:28But I think there are a lot of myths that somehow
0:23:28 > 0:23:31art is made by, usually lone, men on their own,
0:23:31 > 0:23:35who are slightly, perhaps, difficult.
0:23:43 > 0:23:45I just feel so lucky
0:23:45 > 0:23:48and so blessed, really,
0:23:48 > 0:23:52that I have such a strong supporter
0:23:52 > 0:23:54and lover
0:23:54 > 0:23:56and fellow artist.
0:24:08 > 0:24:11And over the next ten years,
0:24:11 > 0:24:14you made more than 80 of those figures in lead.
0:24:14 > 0:24:17Lead is an extraordinary material.
0:24:17 > 0:24:19It has this density, this opacity.
0:24:24 > 0:24:28And then it has this extraordinary relationship with light
0:24:28 > 0:24:29which is very like water.
0:24:29 > 0:24:32It absorbs light, but also reflects it.
0:24:38 > 0:24:41The common idea of alchemy
0:24:41 > 0:24:45is that you can turn lead into gold.
0:24:45 > 0:24:48But that's actually just a metaphor
0:24:48 > 0:24:52for turning gross matter into imagination,
0:24:52 > 0:24:55which is what art should do.
0:25:02 > 0:25:06Gormley's work didn't shy away from the political realities
0:25:06 > 0:25:08of the time.
0:25:08 > 0:25:12In 1987, he made a site-specific installation
0:25:12 > 0:25:15that engaged directly with the conflict in Northern Ireland.
0:25:18 > 0:25:20He created three double-faced figures
0:25:20 > 0:25:25to be positioned at key points along the city walls of Londonderry,
0:25:25 > 0:25:30marking sites of division between the Protestant and Catholic communities.
0:25:30 > 0:25:33The work was an attempt to use
0:25:33 > 0:25:36the central image of Christianity - crucifixion -
0:25:36 > 0:25:42by making these two body cases made out of ordinance quality steel -
0:25:42 > 0:25:46in other words, capable of withstanding the impact
0:25:46 > 0:25:48of high velocity bullets.
0:25:48 > 0:25:52And if you put those two body cases together
0:25:52 > 0:25:56you look through the open eyes of one
0:25:56 > 0:26:00and out of the open eyes of the other.
0:26:00 > 0:26:06And my idea was to find three points on these walls
0:26:06 > 0:26:09that really made sense in terms of the tension
0:26:09 > 0:26:11within that divided community.
0:26:16 > 0:26:20As we installed the piece onto the Bogside site,
0:26:20 > 0:26:24this crowd of youths came out the Bogside
0:26:24 > 0:26:25and started yelling.
0:26:25 > 0:26:27They started throwing stones.
0:26:27 > 0:26:30They were spitting at the sculpture
0:26:30 > 0:26:32as it was delivered off the lorry.
0:26:32 > 0:26:35It was hoisted up, literally dripping with spit
0:26:35 > 0:26:40and these stones were coming across...
0:26:40 > 0:26:44And before long all the windows of the crane had been smashed.
0:26:44 > 0:26:47The crane driver had run for his life.
0:26:47 > 0:26:49And at this point,
0:26:49 > 0:26:52a guy who was part of the installation team
0:26:52 > 0:26:56ran like...like the wind,
0:26:56 > 0:26:58like Finn McCool - he had a hammer
0:26:58 > 0:27:00and he was just going like this.
0:27:00 > 0:27:03And they just all stopped in their tracks.
0:27:03 > 0:27:05I mean, it was a very...
0:27:05 > 0:27:07extraordinary moment.
0:27:10 > 0:27:13That night, the piece on the Fountains Estate
0:27:13 > 0:27:15was burnt to a cinder.
0:27:15 > 0:27:16They'd put tyres around its neck
0:27:16 > 0:27:20so, in the morning, there was just this incredible image
0:27:20 > 0:27:23of this entirely burnt figure.
0:27:28 > 0:27:32With something that looked very like the crown of thorns,
0:27:32 > 0:27:35but it was actually the wires from the inside of a tyre.
0:27:40 > 0:27:45Here was this image of the central event of the Christian faith
0:27:45 > 0:27:48that was equally relevant
0:27:48 > 0:27:50to both communities
0:27:50 > 0:27:56being used to objectify this extraordinary conflict.
0:28:06 > 0:28:10At the end of the '80s, Gormley began a series of works
0:28:10 > 0:28:15that led him to represent human experience in a totally new way.
0:28:17 > 0:28:19This is really the first work in which
0:28:19 > 0:28:21I did have collective participation.
0:28:24 > 0:28:26And each time you've made Field,
0:28:26 > 0:28:28you've used local people and local clay.
0:28:28 > 0:28:33I just have to give them very simple instructions -
0:28:33 > 0:28:37just take a ball of clay, form it in the hands,
0:28:37 > 0:28:39place it apart from you, make it conscious,
0:28:39 > 0:28:41give it eyes,
0:28:41 > 0:28:44and now see how a form will arise.
0:28:44 > 0:28:46And it will be YOUR form.
0:28:46 > 0:28:48It will be unique to you.
0:28:49 > 0:28:54What gets released when you give a common collective aim
0:28:54 > 0:28:57to a group of people...
0:28:57 > 0:29:00It is absolutely astonishing what happens.
0:29:01 > 0:29:03It's magic.
0:29:05 > 0:29:08The first time he made Field, there were 1,000 figures.
0:29:09 > 0:29:14By the time he made Field for the British Isles in 1993,
0:29:14 > 0:29:17the clay army stood 40,000 strong.
0:29:31 > 0:29:33The single figure is one thing,
0:29:33 > 0:29:36but it's the communal figure, the way it fills that space
0:29:36 > 0:29:38which is so overwhelming, you know.
0:29:38 > 0:29:40It's about, in a sense,
0:29:40 > 0:29:43our right to a voice.
0:29:43 > 0:29:48It is about giving a physical sense to those without a voice.
0:29:48 > 0:29:51These are witnesses that have no mouths
0:29:51 > 0:29:55but look at us dumbly and judge us.
0:29:55 > 0:29:56We, the living.
0:29:56 > 0:29:59What kind of world are you bequeathing to your children?
0:29:59 > 0:30:01To your children's children?
0:30:03 > 0:30:06I grew up properly in the late '60s,
0:30:06 > 0:30:09in the time of demonstrations. It was when sit-ins happened.
0:30:09 > 0:30:12We occupied the positions of power.
0:30:12 > 0:30:15And that's the point of Field.
0:30:15 > 0:30:19Field completely occupies the space of a museum to the point
0:30:19 > 0:30:20where you can't get in.
0:30:21 > 0:30:26And instead of in some way you having this pleasurable
0:30:26 > 0:30:30cultural experience, you are confronted by this accusatory gaze.
0:30:43 > 0:30:46Welcome back to the Tate Gallery in London, live,
0:30:46 > 0:30:48where we are about to hear
0:30:48 > 0:30:51who has won this year's £20,000 Turner Award.
0:30:51 > 0:30:54- Congratulations... - APPLAUSE
0:30:54 > 0:30:57- ..Mr Antony Gormley. - CHEERS AND APPLAUSE
0:31:16 > 0:31:19It's quite interesting what happens to artists
0:31:19 > 0:31:20when they win the Turner Prize.
0:31:20 > 0:31:24Some sort of have actually sunk into relative oblivion.
0:31:24 > 0:31:28For some, it just reinforces whatever status
0:31:28 > 0:31:29they have at the time.
0:31:29 > 0:31:33I think Antony is one of those people you can say retrospectively,
0:31:33 > 0:31:35having won the Turner Prize,
0:31:35 > 0:31:37it really did kick-start his transition.
0:31:42 > 0:31:43In literal terms,
0:31:43 > 0:31:47he was able to do something bigger than he'd ever done before.
0:31:49 > 0:31:54The Angel Of The North is my attempt at a Stonehenge, isn't it?
0:31:54 > 0:31:58It's the attempt at marking a very particular place
0:31:58 > 0:32:02and a very particular time, between near the end of coal mining,
0:32:02 > 0:32:04the end of shipbuilding,
0:32:04 > 0:32:08the end of the industrial power of the north-east...
0:32:10 > 0:32:12..and the dawn of the information age
0:32:12 > 0:32:18and making a totemic object for a community that had lost, in a way...
0:32:18 > 0:32:20lost faith in its own future.
0:32:23 > 0:32:27To use the same materials and the same purposefulness
0:32:27 > 0:32:31with which you might make a railway bridge or a large boat,
0:32:31 > 0:32:35but use it to make an imaginative object.
0:32:43 > 0:32:45The motif of the angel
0:32:45 > 0:32:48had been present in Gormley's work for some time.
0:32:50 > 0:32:55They appear as hybrid creatures, impeded by their heavy wings.
0:32:59 > 0:33:02But he'd never attempted anything on this scale before.
0:33:20 > 0:33:23Not only was it the largest sculpture Gormley had ever made...
0:33:26 > 0:33:28..at the time of its construction,
0:33:28 > 0:33:30it would be the largest sculpture in Britain.
0:33:40 > 0:33:44I want my work to have a life. I want my work to interact with life.
0:33:44 > 0:33:46I want my work to be part of life.
0:33:46 > 0:33:53My hackles raise when that phrase is used -
0:33:53 > 0:33:56"Oh, you make public art."
0:33:56 > 0:34:01As if that was some kind of second rate compromised,
0:34:01 > 0:34:04qualified, pure art.
0:34:04 > 0:34:07I absolutely turn that on its head.
0:34:10 > 0:34:16In my view, all great art was made to touch all people.
0:34:18 > 0:34:21And the privatisation of art is some aberration.
0:34:25 > 0:34:32I think the real proof of art's effectiveness is the degree
0:34:32 > 0:34:36to which it can touch people.
0:34:40 > 0:34:45Shift the tectonic plates of an assumption about the world...
0:34:46 > 0:34:53..or open a valve in their emotional constitution that perhaps
0:34:53 > 0:34:55hadn't been opened before.
0:35:10 > 0:35:13Its position, just off the A1 near Gateshead,
0:35:13 > 0:35:17would make it one of the most viewed pieces of art in the world,
0:35:17 > 0:35:21seen by an estimated 90,000 people every day.
0:35:35 > 0:35:39I was concerned - is it going to work as a piece of sculpture?
0:35:39 > 0:35:41Are its proportions going to work on this scale?
0:35:41 > 0:35:44Obviously, what one's most worried about is that it just looks
0:35:44 > 0:35:47like a small thing that's been made ten times bigger.
0:35:47 > 0:35:50But I think the great thing is that it looks like it needs to be
0:35:50 > 0:35:53the size that it is and that it works in the context.
0:35:53 > 0:35:56In other words, I mean... Well, I'm thrilled.
0:36:09 > 0:36:15I mean, it's amazing to me that the Angel Of The North is rarely alone.
0:36:15 > 0:36:21You see it always with the silhouettes of people moving
0:36:21 > 0:36:25underneath the bottom edge of the wings.
0:36:26 > 0:36:29It hadn't always been popular with the local community.
0:36:33 > 0:36:39And then one day, an Alan Shearer shirt finds its way on to the work.
0:36:39 > 0:36:42What was your feeling about that?
0:36:42 > 0:36:46That was just baptism, my old Christian way...
0:36:46 > 0:36:48I think that was it being accepted.
0:36:48 > 0:36:54I can remember going to the Newcastle Brewery's charity evening
0:36:54 > 0:36:58when I was trying to get the Angel made and being booed off the stage.
0:36:58 > 0:37:04"Get off, you wanker!" It was an amazing sign of a change of heart.
0:37:04 > 0:37:08CROWD ROARS
0:37:21 > 0:37:26For Gormley, the placement of his work is hugely important.
0:37:26 > 0:37:31Today, he's travelling to Lundy Island, 12 miles off the coast
0:37:31 > 0:37:36of Devon, to oversee the installation of a new work for the Landmark Trust.
0:37:39 > 0:37:41First time I've ever been here.
0:37:41 > 0:37:44Well, it's... It's perfect.
0:37:44 > 0:37:46And to be on a day...
0:37:46 > 0:37:51here on a day like this where this extraordinary prospect,
0:37:51 > 0:37:56where we look back on to Wales, back up the Bristol Channel
0:37:56 > 0:38:00and then out, out, out west towards America...
0:38:23 > 0:38:27- It's glorious!- Do you like it? - Yeah, I love it. It's just...
0:38:27 > 0:38:31It's just fantastic. What a sight.
0:38:31 > 0:38:36Aren't I lucky? I love the texture. This is just great!
0:38:42 > 0:38:45I think it needs to twist about... About 90.
0:38:47 > 0:38:48Up again.
0:38:52 > 0:38:54That's it. OK.
0:38:57 > 0:38:59That's better, that's better.
0:38:59 > 0:39:01So, have we got a spirit level somewhere?
0:39:06 > 0:39:10Congratulations. That's exactly what I did.
0:39:10 > 0:39:14That is bloody... Bloody impressive.
0:39:25 > 0:39:28Don't fall over here, that's all I ask.
0:39:29 > 0:39:31It's a long way down.
0:39:40 > 0:39:43This bit of headland has been here hundreds of thousands of years.
0:39:45 > 0:39:49And now, it's got this...
0:39:50 > 0:39:52..foreign object on it.
0:39:53 > 0:39:55It's got to have that sense of it
0:39:55 > 0:39:58being, in a way,
0:39:58 > 0:40:03an irritation, but then at the same time
0:40:03 > 0:40:09it's got to own its place.
0:40:13 > 0:40:19The other test of a well-sited work is...
0:40:19 > 0:40:20during the time that it's there,
0:40:20 > 0:40:23you can't think of the place without the object
0:40:23 > 0:40:25or the object without the place.
0:40:42 > 0:40:45The emotional impact of the work transforms
0:40:45 > 0:40:47the environment in unexpected ways...
0:40:54 > 0:40:56..from the seashore to the city skyline.
0:41:10 > 0:41:14Event Horizon happened in London in 2007 and this was just
0:41:14 > 0:41:17a couple of years after the terrorist attacks in London.
0:41:19 > 0:41:23But there was a real sense of, of fear and of a kind of quiet
0:41:23 > 0:41:26sort of endless everyday fear,
0:41:26 > 0:41:29of people take off a rucksack on a bus and put it down
0:41:29 > 0:41:31and everyone is suddenly noticing it.
0:41:31 > 0:41:35That piece spoke to all of that fear as well.
0:41:35 > 0:41:36Are these threatening?
0:41:36 > 0:41:39Are they friendly? Are they alien creatures?
0:41:39 > 0:41:40What are they?
0:41:44 > 0:41:48And they were all facing back towards the Hayward building
0:41:48 > 0:41:50which meant in a way that what Antony had done was
0:41:50 > 0:41:52a kind of clever reversal, if you like,
0:41:52 > 0:41:56of the typical relationship between the artwork and the viewer.
0:41:59 > 0:42:03Blind Light was the name of the entire exhibition
0:42:03 > 0:42:08but Blind Light was also the title of a work at the centre of a show.
0:42:09 > 0:42:11The idea of Blind Light
0:42:11 > 0:42:14was actually to make you into a disembodied intelligence.
0:42:16 > 0:42:20You cross over this fully open threshold
0:42:20 > 0:42:24and suddenly you are in space.
0:42:24 > 0:42:27The light is substantial...
0:42:27 > 0:42:28but shows you nothing.
0:42:28 > 0:42:33Apart from itself and you are immersed in it.
0:42:35 > 0:42:39You're no longer moving through space with determinism.
0:42:39 > 0:42:41You are lost in space and light.
0:42:44 > 0:42:46People would say to me,
0:42:46 > 0:42:49"Oh, I now know what it's going to be like to be dead".
0:42:50 > 0:42:54I'll just be like a thought in space.
0:42:56 > 0:43:01But at that point, you also become an image to people outside.
0:43:02 > 0:43:04But I like that idea,
0:43:04 > 0:43:07particularly when people were pressing up against the glass.
0:43:07 > 0:43:12It was almost as if they were calling in their gestures
0:43:12 > 0:43:17for you to...to be there with them.
0:43:19 > 0:43:22I think Blind Light was a jumping-off point
0:43:22 > 0:43:25for many of the works that have come later based around rooms
0:43:25 > 0:43:30and structures and journeys and paths through spaces.
0:43:34 > 0:43:37I think also the engagement with the public
0:43:37 > 0:43:40and the trust in the public to come to the work
0:43:40 > 0:43:43and bring their own bodies and experiences to it
0:43:43 > 0:43:47was revolutionised by that moment at the exhibition when it really
0:43:47 > 0:43:49was a point where Antony moved further and further
0:43:49 > 0:43:54away from the object in a space to our bodies as the objects
0:43:54 > 0:43:55in the space.
0:44:03 > 0:44:08These works begin and end with bodily experience.
0:44:08 > 0:44:11They are often about a lived moment.
0:44:11 > 0:44:14A space once occupied by a human body or a space into which
0:44:14 > 0:44:16you then go as a body.
0:44:16 > 0:44:19That's quite empowering because your own individual bodily
0:44:19 > 0:44:23and then emotional and intellectual experience counts.
0:44:24 > 0:44:28All sorts of ideas and associations, I find, start to reveal themselves
0:44:28 > 0:44:30and of course when you talk to Antony about anything,
0:44:30 > 0:44:33his mind, his imagination...it works, it pushes, it pushes.
0:44:33 > 0:44:38He's never, I mean, he's the least complacent artist that I know.
0:44:54 > 0:44:56Once you do that...
0:44:57 > 0:45:02..suddenly the scale of all of this is infinitely changed.
0:45:02 > 0:45:06And then, and then you can do this.
0:45:06 > 0:45:09And...
0:45:09 > 0:45:12and that changes.
0:45:12 > 0:45:14HE GASPS
0:45:14 > 0:45:17HE LAUGHS
0:45:20 > 0:45:25This reminds me of something which is the relationship of...
0:45:25 > 0:45:29of what you do to other art forms, to dance, for instance.
0:45:29 > 0:45:32There is no other art form that is that direct.
0:45:32 > 0:45:34To use life itself as your medium,
0:45:34 > 0:45:36to use this intense moment of being.
0:45:36 > 0:45:38- And to use the human body in ways that...- Yeah.
0:45:38 > 0:45:41Ways that are so expressive and so different.
0:45:44 > 0:45:48DRUMMING MUSIC
0:45:55 > 0:46:00For the past ten years, Gormley has collaborated with dancers
0:46:00 > 0:46:03and choreographers from across the world.
0:46:03 > 0:46:09Sometimes making frames and props to work with the dancers' bodies.
0:46:17 > 0:46:21Or, for Akram Khan, creating a surrogate model
0:46:21 > 0:46:23as a double for the body of a dancer.
0:46:30 > 0:46:34One of his most recent collaborations was with the choreographer,
0:46:34 > 0:46:35Hofesh Shechter.
0:46:41 > 0:46:43I mean, the dancer occupies a space
0:46:43 > 0:46:46just like your bodies occupy spaces, don't they?
0:46:48 > 0:46:53The dancers' intelligence is about being in time, you know?
0:46:53 > 0:46:57When Hofesh is doing his...
0:46:58 > 0:47:01..his rehearsing, it's just incredible.
0:47:01 > 0:47:09The, the, the...the embodied mathematics of the rhythm that he
0:47:09 > 0:47:15is in a way inviting his dancers to inherit, it's so precise
0:47:15 > 0:47:18but at the same time so intuitive.
0:47:20 > 0:47:21What was amazing for me
0:47:21 > 0:47:25with Antony is that feeling that we could fly together.
0:47:25 > 0:47:32Like, I felt it was a first-time I felt I'm kind of comfortable
0:47:32 > 0:47:36telling someone my, my dreams, my thoughts, my fantasies
0:47:36 > 0:47:38unfolding the imagination together.
0:47:46 > 0:47:50Antony was curious about the bodies of the dancers in a very,
0:47:50 > 0:47:56almost mathematical kind of physical way...professor-like way.
0:47:56 > 0:48:00The weight of the body and how... can you stand like that?
0:48:04 > 0:48:08What he demanded from them was sometimes kind of impossible.
0:48:13 > 0:48:16Not movement actually, but being.
0:48:19 > 0:48:21Everyone, Antony to the front, please.
0:48:21 > 0:48:24The fourth plinth in London's Trafalgar Square is the
0:48:24 > 0:48:28most coveted spot in Britain for showcasing contemporary sculpture.
0:48:30 > 0:48:34In 2009, Antony Gormley got his chance
0:48:34 > 0:48:36and instead of making an object,
0:48:36 > 0:48:39he divided the time into a grid of hours
0:48:39 > 0:48:41and put the public on the platform.
0:48:44 > 0:48:47One person per hour for 100 days.
0:48:48 > 0:48:53To do whatever they wanted as long as it was legal.
0:48:53 > 0:48:59There was one woman on the first day. It was just so, so fantastic.
0:48:59 > 0:49:01I don't know how she'd done it,
0:49:01 > 0:49:06but she got a kind of Cuban mariachi band to come and accompany her
0:49:06 > 0:49:08And she was giving it...
0:49:08 > 0:49:12And it was just wonderful what happened within the square.
0:49:18 > 0:49:20And then those people that took it very conventionally,
0:49:20 > 0:49:24that somehow, Trafalgar Square was a place of acknowledgement
0:49:24 > 0:49:28of the fallen that had fought in the wars or in Afghanistan.
0:49:29 > 0:49:31What other favourites did you have?
0:49:31 > 0:49:32I know it's not fair to have favourites.
0:49:32 > 0:49:37I think my favourite of all was the agoraphobic girl.
0:49:39 > 0:49:43She got up there and she just formed herself into a ball.
0:49:43 > 0:49:45You can see why I'm like that.
0:49:45 > 0:49:48And she just sort of looked out at the world.
0:49:53 > 0:49:54Like this.
0:49:54 > 0:49:56For a whole hour and it was just...
0:49:56 > 0:49:59she was so small on that great big plinth.
0:50:00 > 0:50:05And somehow, quietly became the focus.
0:50:05 > 0:50:11I mean, it was really unbelievably powerful. Beautiful.
0:50:16 > 0:50:20And you're ready now, I think, to let go sometimes because you...
0:50:20 > 0:50:23Yeah, I think...that's what One Another was.
0:50:23 > 0:50:25It was a complete letting go.
0:50:25 > 0:50:30It was just saying, let's think of our...less as objects
0:50:30 > 0:50:32and more as a process.
0:50:32 > 0:50:36Less as a noun, more as a verb.
0:50:36 > 0:50:41As a transformative space where you can dream.
0:50:41 > 0:50:45ELECTRONIC SOUND
0:50:50 > 0:50:54Gormley hadn't moved away from making sculptures of the human body.
0:50:55 > 0:51:01In 2012, his work Model was a figure made of steel rooms that the
0:51:01 > 0:51:03viewer could walk inside.
0:51:03 > 0:51:05From the toe up to the head.
0:51:17 > 0:51:23What you seem to have done more and more with your later work
0:51:23 > 0:51:26is to allow us to have that same experience that you have
0:51:26 > 0:51:28when you were encased, you know?
0:51:28 > 0:51:31To find our way through space
0:51:31 > 0:51:36and to somehow experience the work in a very different way.
0:51:36 > 0:51:41The show, Model, was the first time that I'd opened
0:51:41 > 0:51:45the body as an experientiable architectural space.
0:51:47 > 0:51:53When you end up in the headspace, you are in this very dark chamber.
0:51:55 > 0:51:58You...you're almost in this position of being
0:51:58 > 0:52:04the consciousness of this collective acoustic environment.
0:52:10 > 0:52:14METAL BEING HAMMERED AND WORKED
0:52:29 > 0:52:35For the summer of 2015, Gormley is creating a huge exhibition that will
0:52:35 > 0:52:40set his new cast-iron block works alongside work of 20 years earlier.
0:53:12 > 0:53:16Every aspect of a show requires careful planning.
0:53:30 > 0:53:33It's much easier doing it with this scale of work.
0:53:46 > 0:53:49HE GASPS
0:53:49 > 0:53:52OK, there's our pile for Florence.
0:54:03 > 0:54:07Gormley has been invited to make his new exhibition
0:54:07 > 0:54:11in a 16th-century Medici fortress on the south side of Florence.
0:54:11 > 0:54:14As well as its Renaissance history,
0:54:14 > 0:54:17the fort was the setting of a landmark exhibition
0:54:17 > 0:54:21for the most famous British sculptor of the 20th century.
0:54:23 > 0:54:27In the summer of 1972, the mayor of Florence invited Henry Moore
0:54:27 > 0:54:29to arrange an exhibition of his works in the buildings
0:54:29 > 0:54:33and grounds of the 16th century Forte di Belvedere.
0:54:33 > 0:54:37It was the largest exhibition of his work that there had ever been.
0:54:37 > 0:54:38Writing to the mayor, he said,
0:54:38 > 0:54:41"No better site for showing sculpture in the open air
0:54:41 > 0:54:44"and in relationship to architecture and a town
0:54:44 > 0:54:46"could be found anywhere in the world."
0:54:50 > 0:54:55When you took on Florence and the fort, you were aware, of course,
0:54:55 > 0:54:58who wouldn't be, that there was this extraordinary...?
0:54:58 > 0:55:011972, Henry Moore.
0:55:01 > 0:55:03Was the fact that Henry Moore had done that,
0:55:03 > 0:55:07was that an incentive for you to do it or did it put you off?
0:55:09 > 0:55:12No, I think it was obviously an incentive and it was
0:55:12 > 0:55:16obviously also an invitation to do something very different.
0:55:21 > 0:55:25Florence is the birthplace of humanism.
0:55:25 > 0:55:30The whole idea that man was the measure of all things.
0:55:30 > 0:55:35That we were divine. That we were the masters of the universe.
0:55:39 > 0:55:42Human is a reality check. When we strip away, in a way,
0:55:42 > 0:55:45the illusions of progress,
0:55:45 > 0:55:46what are we really?
0:55:55 > 0:55:58Or what do we need to become...
0:55:58 > 0:56:00in order to be truly human?
0:56:35 > 0:56:40The Forte di Belvedere was built for Grand Duke Ferdinando de Medici
0:56:40 > 0:56:42at the end of the 16th century.
0:56:43 > 0:56:48It was designed to command a defensive position across the city,
0:56:48 > 0:56:52but also to show off the power and status of the Medici family.
0:56:54 > 0:56:57The Medici were an absolutely...
0:56:57 > 0:57:02Lorenzo, in particular, was a highly scheming,
0:57:02 > 0:57:05completely ruthless man,
0:57:05 > 0:57:10who nevertheless had the first real art school for sculpture.
0:57:10 > 0:57:14The beauties that have come down to us from the Renaissance
0:57:14 > 0:57:18actually come out of a context of extreme pain.
0:57:22 > 0:57:25For this new work in Florence, Anthony has chosen to use
0:57:25 > 0:57:28figures that he made 20 years ago
0:57:28 > 0:57:31for a site-specific work called Critical Mass,
0:57:31 > 0:57:34built for an old tram depot in Vienna.
0:57:40 > 0:57:43It was impossible to be in this building
0:57:43 > 0:57:47without thinking about the transport, particularly of the Jews.
0:57:48 > 0:57:53But that led me then to think about the mechanisation of death.
0:57:55 > 0:57:57It's chilling.
0:58:00 > 0:58:05It's chilling if one believes in human progress,
0:58:05 > 0:58:11but actually we are still behaving in a very Palaeolithic way.
0:58:17 > 0:58:22For Critical Mass, Gormley cast 12 different body positions.
0:58:22 > 0:58:25He made five copies of each pose.
0:58:30 > 0:58:35These figures are deliberately displayed at odd angles.
0:58:35 > 0:58:38Upside down or leaning against the wall.
0:58:52 > 0:58:54They are all without a plinth.
0:58:57 > 0:59:00Each time Critical Mass is displayed,
0:59:00 > 0:59:04Gormley arranges some of the figures in a pile.
0:59:07 > 0:59:09I think of Critical Mass as my anti-monument
0:59:09 > 0:59:12to the fallout of the 20th century.
0:59:17 > 0:59:20Broadly speaking, the pile is history,
0:59:20 > 0:59:23something that we can do little about,
0:59:23 > 0:59:25other than bear witness to it.
0:59:34 > 0:59:36But the pile is also bad history.
0:59:37 > 0:59:42The pile is the foil to any illusion of idealism
0:59:42 > 0:59:46that might be represented by the heroic statue.
1:00:11 > 1:00:13On the opposite side of the battlement,
1:00:13 > 1:00:18the arrangement of figures carries a sense of order and progression.
1:00:20 > 1:00:22The breakthrough was realising
1:00:22 > 1:00:27that the 12 positions of Critical Mass could be shown in a line
1:00:27 > 1:00:30as an evolution of crouching,
1:00:30 > 1:00:36ground, facing, foetal figures
1:00:36 > 1:00:43to a body standing absolutely erect like a soldier,
1:00:43 > 1:00:47ready to take orders but looking up at the sky.
1:00:52 > 1:00:58I think it's just trying to look at those aspirations
1:00:58 > 1:01:00for human perfectibility
1:01:00 > 1:01:03and indeed the whole idea of progress.
1:01:04 > 1:01:07You've got to see both sides,
1:01:07 > 1:01:10you've got to have the illusion of progress.
1:01:11 > 1:01:15You've got to have the truth of this pile of inert matter.
1:01:20 > 1:01:25What Critical Mass began as was a meditation
1:01:25 > 1:01:29on the ever greater ubiquity of war.
1:01:29 > 1:01:32And in a way, the normalisation of war.
1:01:32 > 1:01:34Well, things haven't changed much.
1:01:34 > 1:01:37In fact, it's been a progress of the infiltration
1:01:37 > 1:01:40of the theatre of war into civilian life
1:01:40 > 1:01:42and now in certain parts of the world,
1:01:42 > 1:01:48we don't know whether a child is just a child or a child and a bomb.
1:01:55 > 1:01:58Here in Florence, Critical Mass is shown
1:01:58 > 1:02:01alongside his most recent works,
1:02:01 > 1:02:07whose block-like forms speak of technology and the digital age.
1:02:11 > 1:02:14As you get closer, you see that the symmetry
1:02:14 > 1:02:17that was present in Critical Mass
1:02:17 > 1:02:20is now giving way to a kind of chaos.
1:02:22 > 1:02:27Looking at them, I can't help but think of Sleeping Place,
1:02:27 > 1:02:31made on his return from India more than 40 years ago.
1:02:33 > 1:02:36This is the site that has become familiar to us,
1:02:36 > 1:02:40the homeless in the front porch of the bank.
1:02:40 > 1:02:42I mean, it's just about recognising
1:02:42 > 1:02:45the exact opposite of Michelangelo's David.
1:02:45 > 1:02:50This isn't to deny the beauty and aspiration of works like that,
1:02:50 > 1:02:53but actually the need
1:02:53 > 1:02:57to make us see,
1:02:57 > 1:03:00to make us see what things really, really are,
1:03:00 > 1:03:04and this isn't an illustration of it, it's actually,
1:03:04 > 1:03:07hopefully just using these blocks to make us think about
1:03:07 > 1:03:11what it feels like to be there, exposed.
1:03:11 > 1:03:17Trying to find a place, in a way,
1:03:17 > 1:03:23a place of intimacy in a world
1:03:23 > 1:03:26that has somehow forgotten you.
1:03:36 > 1:03:38BIRDSONG
1:04:33 > 1:04:34..Uno.
1:04:34 > 1:04:36CHEERING
1:05:10 > 1:05:13HE SPEAKS ITALIAN
1:05:39 > 1:05:42One of the most powerful things in Antony's work is isolation.
1:05:45 > 1:05:48There is a paradox in Antony's own life.
1:05:49 > 1:05:52I mean, he's a very gregarious individual,
1:05:52 > 1:05:55he's a very collaborative individual, but, erm, he can still
1:05:55 > 1:05:58ruminate in his work...
1:05:58 > 1:06:01on the ultimate isolation of all human beings.