ABOUT THE SPEAKER
Antony Gormley - Sculptor
Antony Gormley's work plays with the human form in space.

Why you should listen

Antony Gormley's work places human forms into eye-opening new contexts, asking us to reconsider our own place in the world. In his 2007/2010 piece "Event Horizon," he placed several dozen life-size casts of his own body on urban rooftops, where they looked out over streets and squares. Does the viewer imagine herself watched by these looming figures--or imagine being one of them? More recently, his cast iron figures have been disseminated over 150 square km in the mountain pastures of the Austrian Alps, all standing at exactly 2039 meters of altitude. "They are a mediation between the domestication of the valleys and the idea of the peak,” Gormley said of the project, codenamed "Horizon Field." Or take his work "One & Other," in which he curated members of the public to stand on an elevated plinth over Trafalgar Square in London for one hour at a time, creating a constantly changing celebration of humanity.

This spring, he collaborated with the choreographer Hofesh Shechter to create the powerful "Survivor," a piece with hundreds of dancers moving their own forms through space and time.

More profile about the speaker
Antony Gormley | Speaker | TED.com
TEDGlobal 2012

Antony Gormley: Sculpted space, within and without

Antony Gormley:雕刻空间:内与外

Filmed:
523,844 views

传奇雕塑家安东尼·葛姆雷即兴讨论了空间和人的形式。他的作品探索了我们躯体感受到的内部空间和我们周围的外部空间,说明我们在时间和空间中只是微不足道的点。
- Sculptor
Antony Gormley's work plays with the human form in space. Full bio

Double-click the English transcript below to play the video.

00:16
I'm going to tell you about why I became成为 a sculptor雕塑家,
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我要告诉你们我成为雕塑家的缘由。
00:20
and you may可能 think that sculptors雕塑家,
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你们可能会认为雕塑家,
00:22
well, they deal合同 with meta, they deal合同 with objects对象,
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他们与元要素,与物质,
00:28
they deal合同 with bodies身体,
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还有与人体打交道,
00:30
but I think, really, what I care关心 about most
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但是我觉得,我真正最在乎的是
00:35
is making制造 space空间, and that's what I've called this talk:
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构造空间,而且我也把这个演讲命名为:
00:39
Making制造 Space空间.
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构造空间。
00:42
Space空间 that exists存在 within us,
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空间存在于我们的生活中
00:46
and without us.
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也存在于其以外
00:48
So, when I was a child儿童,
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在我还是个孩子的时候,
00:52
I don't know how many许多 of you grew成长 up in the '50s,
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我不知道你们当中多少人是50年代长大的,
00:54
but I was sent发送 upstairs楼上 for an enforced强制执行 rest休息. (Laughter笑声)
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但是我曾经被迫上楼午休。(笑声)
01:00
It's a really bad idea理念. I mean, after lunch午餐, you're, you know,
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那真的不是个好主意。我是说,吃了午饭,你知道,
01:03
you're six, and you want to go and climb a tree.
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一个6岁小孩,本应该想去爬树。
01:06
But I had to go upstairs楼上, this tiny little room房间
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但是我得上楼去,回到我狭小的房间,
01:08
that was actually其实 made制作 out of an old balcony阳台,
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其实是旧阳台改的,
01:10
so it was incredibly令人难以置信 hot, small and light,
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所以又热又狭小,而且太过于明亮
01:15
and I had to lie谎言 there. It was ridiculous荒谬.
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我还必须得躺在那儿——这真是荒唐
01:18
But anyway无论如何, for some reason原因, I promised许诺 myself
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不管怎么说,出于一些原因
01:21
that I wasn't going to move移动,
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我下决心不动弹
01:23
that I was going to do this thing that Mummy木乃伊
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因为妈妈吩咐的事
01:25
wanted me to do.
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我要做到
01:27
And there I was, lying说谎 there in this tiny space空间,
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然后我就在那个小地方躺着,
01:31
hot, dark黑暗, claustrophobic幽闭恐惧症, matchbox-sized火柴盒大小的, behind背后 my eyes眼睛,
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在我印象里,这地方又热,又黑,幽闭,只有火柴盒那么大
01:37
but it was really weird奇怪的, like, after this went on
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但是很奇怪,当我坚持午睡
01:41
for days, weeks, months个月, that space空间 would get bigger
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过了几天,几周,几个月,那个空间居然变大了,
01:48
and darker and cooler冷却器
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变暗了,也凉快了。
01:52
until直到 I really looked看着 forward前锋 to that half an hour小时
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最后我居然开始期待每天那半个小时的
01:57
of enforced强制执行 immobility and rest休息,
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强迫午睡休息
02:01
and I really looked看着 forward前锋 to going to that place地点
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而且我真的很想去那个地方呆着
02:05
of darkness黑暗.
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到那片黑暗之中
02:08
Do you mind心神 if we do something completely全然 different不同?
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介不介意咱们做些与众不同的事?
02:10
Can we all just close our eyes眼睛 for a minute分钟?
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请大家闭眼一分钟
02:12
Now, this isn't going to be freaky辣妈.
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不会有什么恐怖的事发生
02:14
It isn't some cultic邪教 thing. (Laughter笑声)
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也不是什么宗教仪式(笑声)
02:16
It's just, it's just, I just would like us all to go there.
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我只想带着你们一起体会那种感觉
02:19
So I'm going to do it too. We'll all be there together一起.
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所有我也会闭上眼。让我们一起来体会
02:21
So close your eyes眼睛 for a minute分钟.
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现在请大家闭上眼
02:25
Here we are, in a space空间,
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我们现在所在的这个空间
02:28
the subjective主观, collective集体 space空间 of the darkness黑暗 of the body身体.
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是黑暗的主观公共空间
02:35
I think of this as the place地点 of imagination想像力,
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我认为这是想象力驰骋的空间
02:39
of potential潜在,
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是蕴含潜力的空间
02:43
but what are its qualities气质?
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但是它有什么特点呢?
02:46
It is objectless无目的. There are no things in it.
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这里空无一物,其中什么也没有
02:51
It is dimensionless因次. It is limitless无限.
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这里无边无垠,没有任何界限
02:57
It is endless无穷.
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这里无穷无尽。
03:02
Okay, open打开 your eyes眼睛.
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好啦,睁开眼吧。
03:04
That's the space空间 that I think sculpture雕塑 --
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这个空间就是我认为雕塑-
03:08
which哪一个 is a bit of a paradox悖论, sculpture雕塑 that is about
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这有点矛盾,雕塑是在
03:11
making制造 material材料 propositions命题 --
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提出物质命题-
03:15
but I think that's the space空间
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但是我认为那就是一个空间,
03:17
that sculpture雕塑 can connect us with.
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它能通过雕刻将我们联系起来。
03:21
So, imagine想像 we're in the middle中间 of America美国.
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所以,想象我们在美洲中部。
03:26
You're asleep睡着. You wake唤醒 up,
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你在熟睡。你醒来,
03:29
and without lifting吊装 your head from the earth地球
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而且不用把头从地上抬起来
03:32
on your sleeping睡眠 bag, you can see for 70 miles英里.
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从你的睡袋上,你能看到70英里远的地方。
03:37
This is a dry lake bed.
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这是一个干河床。
03:41
I was young年轻. I'd just finished art艺术 school学校.
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我那时还年轻,刚从艺术学校毕业。
03:45
I wanted to do something that was working加工
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我想做一些直接和世界对话的工作,
03:47
directly with the world世界, directly with place地点.
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直接和空间对话的工作。
03:52
This was a wonderful精彩 place地点, because it was a place地点
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这是一个极好的地方,因为它是那种
03:55
where you could imagine想像 that you were the
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你可以尽情想象
03:57
first person to be there.
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自己是第一个涉足那里的人
04:00
It was a place地点 where nothing very much had happened发生.
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它是那种没发生过什么事情的地方。
04:05
Anyway无论如何, bear with me.
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不管怎么说,再忍受我一下。
04:08
I picked采摘的 up a hand-sized手掌大小 stone,
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我拾起一个拳头大小的石头,
04:12
threw it as far as I was able能够,
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使劲地扔出去
04:14
it was about 22 meters.
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大概扔了22米远
04:16
I then cleared清除 all the stones石头 within that radius半径
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然后我捡起这个范围内的所有石头
04:22
and made制作 a pile.
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堆成一堆。
04:26
And that was the pile, by the way.
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这就是那堆石头
04:28
And then, I stood站在 on the pile,
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然后,我站在石头堆上,
04:32
and threw all of those rocks岩石 out again,
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把所有石头又扔出去了,
04:36
and here is rearranged重排 desert沙漠.
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然后这里变成了一个格局不同的沙漠。
04:41
You could say, well, it doesn't look very different不同
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你可能会说,嗯,看起来和他开始的时候
04:43
from when he started开始.
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没什么不一样。
04:45
(Laughter笑声)
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(笑声)
04:46
What's all the fuss小题大作 about?
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如此折腾究竟是为什么?
04:48
In fact事实, Chris克里斯 was worried担心 and said,
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其实,Chris担心地说,
04:49
"Look, don't show显示 them that slide滑动,
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“你看,不要给他们展示那页,
04:51
because they're just going to think you're another另一个 one of
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因为他们会认为你是那种
04:53
those crazy modern现代 artists艺术家 who doesn't do much.
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疯狂却光说不练的现代艺术家。
04:55
(Laughter笑声)
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(笑声)
04:58
But the fact事实 is, this is evidence证据
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但是事实是,这是一个
05:04
of a living活的 body身体 on other bodies身体,
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生命体在其他生命体上的证据,
05:08
rocks岩石 that have been the subject学科 of geological地质 formation编队,
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石头由地质变迁形成,
05:14
erosion侵蚀, the action行动 of time on objects对象.
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腐蚀是时间作用在事物上的证据
05:19
This is a place地点, in a way, that I just
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这个地方
05:21
would like you to, in a way, look at differently不同
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我希望你们能用不同的角度来看待,
05:25
because of this event事件 that has happened发生 in it,
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因为在这里发生的事情,
05:28
a human人的 event事件,
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是一个人类主导的事件
05:30
and in general一般, it just asks us to look again
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一般情况下,它只是要我们来重新审视
05:34
at this world世界, so different不同 from, in a way,
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这个世界
05:37
the world世界 that we have been sharing分享 with each other,
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它与我们共同生活熟知的世界是如此不同,
05:40
the technological技术性 world世界,
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技术的世界
05:42
to look again at the elemental元素 world世界.
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再看看元素的世界。
05:47
The elemental元素 world世界 that we all live生活 in is that space空间
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我们都生活在元素的世界
05:53
that we all visited参观 together一起, the darkness黑暗 of the body身体.
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是我们一起拜访的黑暗空间。
05:57
I wanted to start开始 again with that environment环境,
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我想重新从环境开始,
06:01
the environment环境 of the intimate亲密, subjective主观 space空间
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这个亲密、 主观的空间环境
06:04
that each of us lives生活 in, but from the other side
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我们每个人都生活在这个空间中
06:08
of appearance出现.
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但我要从外部观察这个空间
06:11
So here is a daily日常 activity活动 of the studio工作室.
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所以这里有一个工作室的日常活动。
06:13
You can see I don't do much. I'm just standing常设 there,
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你们看到我不太忙,只需要站在那里
06:17
again with my eyes眼睛 closed关闭, and other people
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同样闭上眼睛
06:20
are molding造型 me, evidential证据.
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而其他人在塑造我存在的证据
06:24
This is an indexicalindexical register寄存器 of a lived生活 moment时刻
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这是一个为时间中的实体鲜活存在的一刻
06:28
of a body身体 in time.
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而做成的一个索引登记
06:31
Can we map地图 that space空间, using运用 the language语言 of neutrinos中微子
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我们可以用微子的语言来为这个空间绘制地图
06:37
or cosmic宇宙的 rays阳光, taking服用 the bounding边界 condition条件 of the body身体
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或者用宇宙射线,以约束条件作为限制
06:42
as its limit限制, but in complete完成 reversal翻转 of, in a way,
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但从某种意义上
06:47
the most traditional传统 Greek希腊语 idea理念 of pointing指点?
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对最传统的希腊观点的“指示”是一种完全的逆转?
06:50
In the old days they used to take a lump of Pentelic潘泰列克 marble大理石
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旧时代,人们采到一块大理石
06:53
and drill钻头 from the surface表面 in order订购 to identify鉴定 the skin皮肤,
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在表面钻孔来确定表层
06:58
the appearance出现,
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确定外观
07:00
what Aristotle亚里士多德 defined定义 as the distinction分别
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亚里士多德称之为
07:03
between之间 substance物质 and appearance出现,
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物质与表象间的区别
07:05
the thing that makes品牌 things visible可见,
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让事物可见的关键
07:08
but here we're working加工 from the other side.
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但我们从反面来做
07:11
Or can we do it as an exclusive独家 membrane?
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或者说,我们是否能做出一张独一无二的膜?
07:15
This is a lead case案件 made制作 around the space空间
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这是铅制容器,包围了我身体所占据的那个空间
07:21
that my body身体 occupied占据, but it's now void空虚.
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现在它是空的
07:24
This is a work called "Learning学习 To See."
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这个作品的名字是“学习去看”
07:28
It's a bit of, well, we could call it night,
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它有点……我们可以称之为夜,
07:35
we could call it the 96 percent百分 of gravity重力
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我们可以称它为 96%的重力
07:39
that we don't know about, dark黑暗 matter,
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关于空间中未知的暗物质
07:43
placed放置 in space空间, anyway无论如何, another另一个 version of a human人的 space空间
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这是人类存在于空间的另一个版本
07:46
in space空间 at large, but I don't know if you can see,
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我不知道你们是否注意到
07:49
the eyes眼睛 are indicated指示, they're closed关闭.
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眼睛自身表明,它们是闭着的。
07:55
It's called "Learning学习 To See" because it's about an object目的
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它被叫做“学习去看”,因为这是关于一个
07:59
that hopefully希望 works作品 reflexively本能 and talks会谈 about that
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自反指代的物体,是一种幻想
08:03
vision视力 or connection连接 with the darkness黑暗 of the body身体
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是与黑暗的一种联系
08:07
that I see as a space空间 of potential潜在.
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在这个我觉得充满潜力的空间中
08:12
Can we do it another另一个 way, using运用 the language语言
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我们能不能用另外一种方法
08:15
of particles粒子 around a nucleus, and talk about the body身体
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用原子核周边粒子的语言
08:18
as an energy能源 center中央?
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来探讨作为一个能量中心的人体?
08:20
No longer about statues雕像, no longer having to take that
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无关乎雕像,无关乎站立的责任,
08:23
duty义务 of standing常设, the standing常设 of a human人的 body身体,
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无关乎人的矗立,
08:26
or the standing常设 of a statue雕像, release发布 it,
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或是雕塑的矗立,放开它
08:29
allow允许 it to be an energy能源 field领域, a space空间 in space空间
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让他成为一个能量场,一个在空间之中
08:34
that talks会谈 about human人的 life, between之间 becoming变得 an entropy
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讨论人类生命的空间,在成为熵
08:40
as a sort分类 of concentration浓度 of attention注意,
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它是一种注意的集合,
08:45
a human人的 place地点 of possibility可能性 in space空间 at large.
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和在整个空间中人类位置的可能性。
08:50
Is there another另一个 way?
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有没有另外一种形式?
08:54
Dark黑暗 matter now placed放置 against反对 a horizon地平线.
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暗物质现在被用来对抗视野
09:00
If minds头脑 live生活 in bodies身体, if bodies身体 live生活 in clothes衣服,
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如果思想在身体中,身体在衣服中,
09:04
and then in rooms客房, and then in buildings房屋,
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衣服在房间中,房间在大楼中,
09:07
and then in cities城市, do they also have a final最后 skin皮肤,
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大楼在城市中,它们有最终的表层吗,
09:13
and is that skin皮肤 perceptual知觉的?
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这表层能感知到吗?
09:16
The horizon地平线.
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视野
09:18
And is art艺术 about
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艺术是关于
09:21
trying to imagine想像 what lies beyond the horizon地平线?
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试图想象视野之外有什么的吗?
09:27
Can we use, in a way, a body身体 as an empty catalyst催化剂
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我们能否用身体作为一种空催化剂
09:35
for a kind of empathy同情 with the experience经验
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为活的空间-时间的经验产生共鸣,
09:40
of space-time时空 as it is lived生活, as I am standing常设 here
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就像我正站在你们面前
09:45
in front面前 of you trying to feel and make a connection连接
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试图感受和连接
09:51
in this space-time时空 that we are sharing分享,
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我们正在分享的时间空间,
09:54
can we use, at it were, the memory记忆 of a body身体,
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我们能否用身体曾经的记忆,
09:58
of a human人的 space空间 in space空间 to catalyze催化
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空间中的人类空间去催化
10:00
an experience经验, again, firsthand第一手 experience经验,
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一种经验,重申一下,是第一手的经验
10:04
of elemental元素 time.
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是元素时间的。
10:07
Human人的 time, industrial产业 time, tested测试 against反对
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人类时间,工业时间,用来检验
10:12
the time of the tides潮汐, in which哪一个 these memories回忆
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时间的流动,在其中某个
10:15
of a particular特定 body身体, that could be any body身体,
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特定躯体的这些记忆,有可能是任何人的,
10:20
multiplied乘以 as in the time of mechanical机械 reproduction再生产,
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成倍的像在机械的再生产的时间中
10:25
many许多 times, placed放置 over three square广场 miles英里,
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很多倍,放置在超过三平方英里,
10:29
a mile英里 out to sea,
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一英里外是海,
10:33
disappearing消失, in different不同 conditions条件 of day and night.
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在不同的日夜条件中消失。
10:37
You can see this work. It's on the mouth of the Mersey默西,
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你能看到这个工作。它在摩西河口
10:40
just outside Liverpool利物浦.
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恰好在利物浦外。
10:43
And there you can see what a Liverpool利物浦 sea looks容貌 like
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在那里你可以看到利物浦河是什么样的
10:47
on a typical典型 afternoon下午.
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在一个特定的午后。
10:50
The pieces appear出现 and disappear消失,
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碎片出现又消失
10:52
but maybe more importantly重要的 --
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但是也许更重要的是
10:54
this is just looking north from the center中央 of the installation安装 --
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这仅仅从装置的中心往北看
10:58
they create创建 a field领域, a field领域 that involves涉及
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他们创造了一个场,这场涉及到
11:03
living活的 and the surrogate代孕 bodies身体 in a kind of relation关系,
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活的和有某种联系的替代的躯体,
11:08
a relation关系 with each other and a relation关系 with that limit限制,
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这是一种相互关联的联系,而且是一种有限制的联系,
11:13
the edge边缘, the horizon地平线.
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边缘,视野。
11:17
Just moving移动 on, is it possible可能,
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继续,有无可能
11:20
taking服用 that idea理念 of mind心神, body身体, body-building健身,
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用思想,躯体,身体构造的观点,
11:24
to supplant取代 the first body身体,
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来替代第一个躯体
11:28
the biological生物 body身体, with the second第二,
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生物上的躯体。第二个,
11:30
the body身体 of architecture建筑 and the built内置 environment环境.
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建筑的躯体和环境的建构。
11:33
This is a work called "Room房间 for the Great Australian澳大利亚 Desert沙漠."
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这被称作“大澳大利亚沙漠的空间。”
11:37
It's in an undefined未定义 location位置
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它在一个未定义的位置
11:39
and I've never published发表 where it is.
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而且我从未公布过它在哪。
11:42
It's an object目的 for the mind心神.
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它是心灵的对象。
11:44
I think of it as a 21st-centuryST-世纪 Buddha.
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我认为他是21世纪的佛
11:47
Again, the darkness黑暗 of the body身体,
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再次重申,躯体的黑暗,
11:49
now held保持 within this bunker掩体 shape形状
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嵌在沙坑的形状中
11:52
of the minimum最低限度 position位置 that a body身体 needs需求 to occupy占据,
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它是躯体能占有的最小位置
11:56
a crouching蹲伏 body身体.
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一个蜷缩的躯体
11:58
There's a hole at the anus肛门, penis阴茎 level水平.
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在肛门和生殖器的位置有个洞。
12:01
There are holes at ears耳朵. There are no holes at the eyes眼睛.
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耳朵上有洞。眼睛上没有洞。
12:04
There's a slot插槽 for the mouth. It's two and a half inches英寸 thick,
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嘴里有个水池。有2.5英尺深,
12:08
concrete具体 with a void空虚 interior室内.
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由空的内部构成
12:10
Again, a site现场 found发现 with a completely全然 flat平面
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这里能看到完全平坦
12:14
360-degree-度 horizon地平线.
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且360°视野无阻
12:19
This is just simply只是 asking, again,
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现在简单的问一下,
12:23
as if we had arrived到达 for the first time,
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好像我们第一次到达,
12:28
what is the relationship关系 of the human人的 project项目
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人类工程与时间-空间的关系
12:32
to time and space空间?
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是什么?
12:36
Taking that idiom成语 of, as it were,
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用那句老话,
12:40
the darkness黑暗 of the body身体 transferred转入 to architecture建筑,
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躯体的黑暗转化成了建筑,
12:45
can you use architectural建筑的 space空间 not for living活的
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你能不用建筑空间去生活
12:48
but as a metaphor隐喻,
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但只作为隐喻,
12:50
and use its systolic收缩压, diastolic舒张期
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用它的收缩压,舒张压
12:54
smaller and larger spaces空间 to provide提供 a kind of
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更小和更大的空间来提供一种
12:59
firsthand第一手 somatic narrative叙述 for a journey旅程 through通过 space空间,
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第一手的体叙事用于穿越空间
13:04
light and darkness黑暗?
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光明和黑暗的旅行?
13:08
This is a work of some proportion比例 and some weight重量
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这是一项作品,它的某些部分和某些质量
13:13
that makes品牌 the body身体 into a city, an aggregation聚合 of cells细胞
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使它的躯体成为成为城市的一部分,是细胞的聚合
13:18
that are all interconnected互联
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它们都内部相关联
13:20
and that allow允许 certain某些 visual视觉 access访问
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且允许特定的视觉进入
13:25
at certain某些 places地方.
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在特定的位置
13:28
The last work that I just wanted to share分享 with you
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最后一个我想与大家分享的作品是
13:35
is "Blind Light," which哪一个 is perhaps也许
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“盲光”,这也许是
13:39
the most open打开 work,
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最开放的作品,
13:42
and in a conference会议 of radical激进 openness透明度,
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在一个异常开放的会议中,
13:44
I think maybe this is as radical激进 as I get,
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我能想到的也就只有异常
13:48
using运用 light and water vapor as my materials物料.
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用光和水蒸气作我的材料
13:52
Here is a box
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这有个盒子
13:55
filled填充 at one and a half atmospheres气氛 of atmospheric大气的 pressure压力,
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装了1.5大气压的大气
13:58
with a cloud and with very bright light.
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用云和很亮的光。
14:02
As you walk步行 towards the ever-open常开 threshold,
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当你走向那个永远开放的门槛,
14:06
you disappear消失, both to yourselves你自己 and to others其他.
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对你和他人来说,你消失了。
14:14
If you hold保持 your hand out in front面前 of you,
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如果你把手放在你的面前,
14:16
you can't see it.
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你看不见。
14:18
If you look down, you can't see your feet.
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如果你向下看,你看不见你的脚。
14:21
You are now consciousness意识 without an object目的,
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你现在有了没有一个物质的意识,
14:28
freed释放 from the dimensionfuldimensionful
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没有维度
14:32
and measured测量 way in which哪一个 life links链接 us
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且能够测量生活将我们与
14:38
to the obligatory必修.
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责任联系起的方式
14:41
But this is a space空间 that is actually其实 filled填充 with people,
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但是这确实是一个充满了人的空间,
14:46
disembodied脱离现实 voices声音,
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无形的声音,
14:48
and out of that ambient周围 environment环境,
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且在周围环境之外,
14:52
when people come close to your own拥有 body身体 zone,
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当人们靠近你的身体地带,
14:56
very close, they appear出现 to you as representations交涉.
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非常接近,他们对于你就像表征。
15:00
When they appear出现 close to the edge边缘,
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当他们接近边缘时,
15:02
they are representations交涉, representations交涉 in which哪一个
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他们就是表征,表征
15:07
the viewers观众 have become成为 the viewed观看.
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在观望者眼中是可视的。
15:10
For me, art艺术 is not about objects对象 of high monetary货币 exchange交换.
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对我来说,艺术不是高价买卖的物品。
15:16
It's about reasserting重申 our firsthand第一手 experience经验
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它是确立我们的第一手经验
15:22
in present当下 time.
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在此时。
15:25
As John约翰 Cage said,
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正如约翰 · 凯奇所说,
15:28
"We are not moving移动 towards some kind of goal目标.
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"我们并没有走向某种目标。
15:33
We are at the goal目标, and it is changing改变 with us.
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我们达到了目标,而它则随着我们变化。
15:38
If art艺术 has any purpose目的, it is to open打开 our eyes眼睛 to that fact事实."
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艺术的目的就在于睁眼看清这个事实
15:44
Thank you very much.
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谢谢。
15:46
(Applause掌声)
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(掌声)
Translated by Yifan Wu
Reviewed by Psycho Decoder

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ABOUT THE SPEAKER
Antony Gormley - Sculptor
Antony Gormley's work plays with the human form in space.

Why you should listen

Antony Gormley's work places human forms into eye-opening new contexts, asking us to reconsider our own place in the world. In his 2007/2010 piece "Event Horizon," he placed several dozen life-size casts of his own body on urban rooftops, where they looked out over streets and squares. Does the viewer imagine herself watched by these looming figures--or imagine being one of them? More recently, his cast iron figures have been disseminated over 150 square km in the mountain pastures of the Austrian Alps, all standing at exactly 2039 meters of altitude. "They are a mediation between the domestication of the valleys and the idea of the peak,” Gormley said of the project, codenamed "Horizon Field." Or take his work "One & Other," in which he curated members of the public to stand on an elevated plinth over Trafalgar Square in London for one hour at a time, creating a constantly changing celebration of humanity.

This spring, he collaborated with the choreographer Hofesh Shechter to create the powerful "Survivor," a piece with hundreds of dancers moving their own forms through space and time.

More profile about the speaker
Antony Gormley | Speaker | TED.com