"The body is a language before language. When made still in sculpture, it can be a witness to life and it can talk about this time now.."
Significant Artworks
Another Place, 1997.
"The idea was to test time and tide, stillness and movement, and somehow engage with the daily life of the beach. "
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"The idea was to test time and tide, stillness and movement, and somehow engage with the daily life of the beach. "
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Angel of the North, 1998.
"Is it possible to make a work with purpose in a time that demands doubt? I wanted to make an object that would be a focus of hope at a painful time of transition for the people of the north-east, abandoned in the gap between the industrial and the information ages. "
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"Is it possible to make a work with purpose in a time that demands doubt? I wanted to make an object that would be a focus of hope at a painful time of transition for the people of the north-east, abandoned in the gap between the industrial and the information ages. "
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Field, 1989-2003.
“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. I have made it with help 5 times in different parts of the world.”
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“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. I have made it with help 5 times in different parts of the world.”
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Horizon Field, 2010 - 2012.
"The idea was simply to ask a question: where does the human being fit in the scheme of things? I've asked it in different places but this is the most open and most extreme field I've ever made."
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"The idea was simply to ask a question: where does the human being fit in the scheme of things? I've asked it in different places but this is the most open and most extreme field I've ever made."
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Inside Australia, 2002-2003.
"As people move across the work, they leave a tracery or drawing of connecting lines between the works across the sharp whiteness of the lake. This is a sign of the viewers' participation in the work which changes, as does the sky, throughout each interval of the year."
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"As people move across the work, they leave a tracery or drawing of connecting lines between the works across the sharp whiteness of the lake. This is a sign of the viewers' participation in the work which changes, as does the sky, throughout each interval of the year."
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Blind Light, 2007.
"Architecture is supposed to be the location of security and certainty about where you are. It is supposed to protect you from the weather, from darkness, from uncertainty. BLIND LIGHT undermines all of that. You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work."
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"Architecture is supposed to be the location of security and certainty about where you are. It is supposed to protect you from the weather, from darkness, from uncertainty. BLIND LIGHT undermines all of that. You enter this interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work."
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