I just had to pick this book as it reminds me of starting at CP, all those years ago. It's a project that really resonated with me back then, and still does. The installation comes in different versions, depending on the community that helped Gormley make those particular little clay figures, and where it was subsequently displayed. I like that sharing action, and the idea that many parts make up a hole. I also love clay as a medium, and I would like to have squished a clay figure myself, forcing the wet earth into a hand-sized, human-like shape,, with deep-set, pencil-poked eyes. — Staff Pick / Suz
One of the most ambitious acquisitions in the Arts Council Collection, Field for the British Isles (1989-2003) by Antony Gormley is a seminal work of twentieth-century British art.
With an appeal and popularity as broad as the projects’ scope the work continues to captivate and inspire.
25 years after its first showing, a newly commissioned text by anthropologist and writer Hugh Brody offers an invigorating new perspective of this much loved work.
“From the beginning I was trying to make something as direct as possible with clay: the earth. I wanted to work with people and to make a work about our collective future and our responsibility for it. I wanted the art to look back at us, its makers (and later viewers), as if we were responsible – responsible for the world that it [FIELD] and we were in.” — Antony Gormley