Saturday, June 24, 2006

Review 1

Asian Field, Antony Gormley (English), 2003, clay from Guangdong Province, China.

180, 000 figures peer up at the audience, reminding us that we are the active makers of the world. The makers of this ‘world’ are villlagers in China, each with their photo displayed, who have traditionally crafted each terracotta figure in an unautomated form of mass production. But each individual figure is lost in their vast ‘world’, making us question how our existence relates to the world. Each of Gormley’s Field works are a self portrait of a continent, but ‘Asian’ Field ’s similarity to the other Field works also questions each country’s individual existence in today’s globalised world.

The site and layout are as considered as each figure. We walk around the villager’s photos but then stop and peer beyond the doorway, no longer in control of how we view the work, but still actively reflecting on its commentary of the world. The Pier’s machinery mingles with the figures, reminding us of the increasing mechanisation and automation of the world and how easily individuals can become lost amongst this. This sense of displacement is heightened by the juxtaposition of the short figures within the high ceilings of the Pier.

Gormley has successfully intrigued the audience, making us question why and how individuals are becoming lost in today’s world.

Reference list -
Antony Gormley 2006. Available:
Antony Gormley: Field (Liverpool Tate) 2004. Available:
Asian Field (British Council of Arts) n.d. Available:
Birmingham Fujii, L. 2005 Children’s Field. Available:
Gleeson, D. 2002 Review - Field for the British Isles (The British Museum). Available:
[All accessed 23/6/06]