ARTISTS
Antony Gormley: For the Time Being
30 Apr, 2011 - 04 Jun, 2011
Galerie Thaddaeus Ropac is pleased to announce for the time being, an exhibition of Antony Gormley始s works that includes a selection of Memes, his latest experiment in minimised abstract bodies.
for the time being uses strategies of scale, mass and three dimensional drawing to create an experiential field in which the viewer始s own passage through the space is tested and informed by a variety of sculptural foils. Using principles that derive either from Euclidean geometry or crystal-formation, Gormley applies a series of abstract rules to represent the body, both as a space and a thing.
Installed in the gallery entrance, Clutch V, the largest and heaviest of the exhibited works (over 4 tonnes), immediately engages the viewer始s perception of scale. Two times life-size and eight times its volume, this work introduces an experiential field of objects that stimulate the proprioceptive powers of the viewer. In the downstairs gallery, Clutch VI is a reduction of the same geometry, but presented as a concentrated space-frame. In the upstairs gallery scale is again radically reconsidered through twelve 38 centimetre high Memes. Relating directly to the architecture of the gallery space, the Memes embody a diversity of mental states through a range of body postures.
Three polyhedral works 鈥� Cumulate, Fuse and Abstract: standing, lying and crouching in massive and linear form 鈥� continue to play with notions of solidity and impermanence certainty and uncertainty. This tension is most apparent in Fuse, an aggregation of crystal-like forms that make up a prone body, and in Drift, an abstracted cloud made up clustered wire polyhedrons. Other pieces like Construct or State, built on the constructional principles of architecture, redescribe body space in a system of interlocking frames or solid rectangular masses. The most extreme work in the exhibition, Forecast is a 4.5 metre high sculpture in which these solid rectilinear volumes have been extended in all three axes, turning our subjective spatial experience 鈥� front, right, left and down 鈥� into objective form.
The exhibition reveals Gormley始s understanding of his work as diagnostic instruments to investigate being in the world; interrogating both our bodies and how we relate to space through them.
for the time being uses strategies of scale, mass and three dimensional drawing to create an experiential field in which the viewer始s own passage through the space is tested and informed by a variety of sculptural foils. Using principles that derive either from Euclidean geometry or crystal-formation, Gormley applies a series of abstract rules to represent the body, both as a space and a thing.
Installed in the gallery entrance, Clutch V, the largest and heaviest of the exhibited works (over 4 tonnes), immediately engages the viewer始s perception of scale. Two times life-size and eight times its volume, this work introduces an experiential field of objects that stimulate the proprioceptive powers of the viewer. In the downstairs gallery, Clutch VI is a reduction of the same geometry, but presented as a concentrated space-frame. In the upstairs gallery scale is again radically reconsidered through twelve 38 centimetre high Memes. Relating directly to the architecture of the gallery space, the Memes embody a diversity of mental states through a range of body postures.
Three polyhedral works 鈥� Cumulate, Fuse and Abstract: standing, lying and crouching in massive and linear form 鈥� continue to play with notions of solidity and impermanence certainty and uncertainty. This tension is most apparent in Fuse, an aggregation of crystal-like forms that make up a prone body, and in Drift, an abstracted cloud made up clustered wire polyhedrons. Other pieces like Construct or State, built on the constructional principles of architecture, redescribe body space in a system of interlocking frames or solid rectangular masses. The most extreme work in the exhibition, Forecast is a 4.5 metre high sculpture in which these solid rectilinear volumes have been extended in all three axes, turning our subjective spatial experience 鈥� front, right, left and down 鈥� into objective form.
The exhibition reveals Gormley始s understanding of his work as diagnostic instruments to investigate being in the world; interrogating both our bodies and how we relate to space through them.
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Galerie Thaddaeus Ropac is pleased to announce for the time being, an exhibition of Antony Gormley始s works that includes a selection of Memes, his latest experiment in minimised abstract bodies.
for the time being uses strategies of scale, mass and three dimensional drawing to create an experiential field in which the viewer始s own passage through the space is tested and informed by a variety of sculptural foils. Using principles that derive either from Euclidean geometry or crystal-formation, Gormley applies a series of abstract rules to represent the body, both as a space and a thing.
Installed in the gallery entrance, Clutch V, the largest and heaviest of the exhibited works (over 4 tonnes), immediately engages the viewer始s perception of scale. Two times life-size and eight times its volume, this work introduces an experiential field of objects that stimulate the proprioceptive powers of the viewer. In the downstairs gallery, Clutch VI is a reduction of the same geometry, but presented as a concentrated space-frame. In the upstairs gallery scale is again radically reconsidered through twelve 38 centimetre high Memes. Relating directly to the architecture of the gallery space, the Memes embody a diversity of mental states through a range of body postures.
Three polyhedral works 鈥� Cumulate, Fuse and Abstract: standing, lying and crouching in massive and linear form 鈥� continue to play with notions of solidity and impermanence certainty and uncertainty. This tension is most apparent in Fuse, an aggregation of crystal-like forms that make up a prone body, and in Drift, an abstracted cloud made up clustered wire polyhedrons. Other pieces like Construct or State, built on the constructional principles of architecture, redescribe body space in a system of interlocking frames or solid rectangular masses. The most extreme work in the exhibition, Forecast is a 4.5 metre high sculpture in which these solid rectilinear volumes have been extended in all three axes, turning our subjective spatial experience 鈥� front, right, left and down 鈥� into objective form.
The exhibition reveals Gormley始s understanding of his work as diagnostic instruments to investigate being in the world; interrogating both our bodies and how we relate to space through them.
for the time being uses strategies of scale, mass and three dimensional drawing to create an experiential field in which the viewer始s own passage through the space is tested and informed by a variety of sculptural foils. Using principles that derive either from Euclidean geometry or crystal-formation, Gormley applies a series of abstract rules to represent the body, both as a space and a thing.
Installed in the gallery entrance, Clutch V, the largest and heaviest of the exhibited works (over 4 tonnes), immediately engages the viewer始s perception of scale. Two times life-size and eight times its volume, this work introduces an experiential field of objects that stimulate the proprioceptive powers of the viewer. In the downstairs gallery, Clutch VI is a reduction of the same geometry, but presented as a concentrated space-frame. In the upstairs gallery scale is again radically reconsidered through twelve 38 centimetre high Memes. Relating directly to the architecture of the gallery space, the Memes embody a diversity of mental states through a range of body postures.
Three polyhedral works 鈥� Cumulate, Fuse and Abstract: standing, lying and crouching in massive and linear form 鈥� continue to play with notions of solidity and impermanence certainty and uncertainty. This tension is most apparent in Fuse, an aggregation of crystal-like forms that make up a prone body, and in Drift, an abstracted cloud made up clustered wire polyhedrons. Other pieces like Construct or State, built on the constructional principles of architecture, redescribe body space in a system of interlocking frames or solid rectangular masses. The most extreme work in the exhibition, Forecast is a 4.5 metre high sculpture in which these solid rectilinear volumes have been extended in all three axes, turning our subjective spatial experience 鈥� front, right, left and down 鈥� into objective form.
The exhibition reveals Gormley始s understanding of his work as diagnostic instruments to investigate being in the world; interrogating both our bodies and how we relate to space through them.
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