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拍品专文
Created in 2013, the present work belongs to Antony Gormley’s Stations series, initiated that year. At almost two metres tall, the life-sized sculpture is composed of steel plates and bars that together suggest an architectonic body. Here, the figure is in the guise of a skyscraper whose contours echo the large, looming buildings that increasingly define the urban environment. Standing atop a narrow foot and absent walls or insulation, Stations II takes interiority and exteriority to their extremes while encouraging multiple and varied interpretations. Privileging presence above all, the work seeks to evoke an emotional rather than didactic response on the part of the viewer.
Gormley’s Stations series extends the formal language of his Proppers, works that translate the human body through post and lintel architecture. Stations II offers a pared-down, lighter interpretation of these forms. The title of the present work relates to the theme of redemptive suffering, the name of which is taken from the Stations of the Cross. In Stations II, however, Gormley has recast the Biblical tale through various Eastern traditions wherein energies operate within a vertical system, citing chakras and acupuncture meridian lines as central to his thinking.
Despite its steel structure, Stations II feels buoyant and airy. Light flows through the gaps as the delicate beams support the thin plates. The sculpture suggests an openness to both the elements and the flux of life, which for the artist is central to its making. Stations II probes what is architecturally possible and, in doing so, questions notions that are taken for granted. Explaining the series, Gormley wrote, ‘This is an investigation of what the Empire State Building, the Shard or the great towers in Shanghai express: this idea that we can leave the earth’ (‘Stations, 2013-2015’, artist website).
Gormley’s Stations series extends the formal language of his Proppers, works that translate the human body through post and lintel architecture. Stations II offers a pared-down, lighter interpretation of these forms. The title of the present work relates to the theme of redemptive suffering, the name of which is taken from the Stations of the Cross. In Stations II, however, Gormley has recast the Biblical tale through various Eastern traditions wherein energies operate within a vertical system, citing chakras and acupuncture meridian lines as central to his thinking.
Despite its steel structure, Stations II feels buoyant and airy. Light flows through the gaps as the delicate beams support the thin plates. The sculpture suggests an openness to both the elements and the flux of life, which for the artist is central to its making. Stations II probes what is architecturally possible and, in doing so, questions notions that are taken for granted. Explaining the series, Gormley wrote, ‘This is an investigation of what the Empire State Building, the Shard or the great towers in Shanghai express: this idea that we can leave the earth’ (‘Stations, 2013-2015’, artist website).