“Sculpture can no longer simply reinforce the known, but it has to be a bridge to the unknown. It can no longer give us a sense of identity; by celebrating the past, it has to be open to possible futures”.
Sculpture is my medium of choice because of the possibilities it opens as a Bermuda Triangle of shared imagination. It is a slippery ground, where “object’s misbehaviour” takes you for a ride down the rabbit hole into the “life-world of mute objects”. And the only way of finding focus in this “terra incognita” is through loss of orientation.
I use contemporary sculptural practice as a tool to figure out what is it that we care about in the world. Through the simple fact of possessing a body, we constantly negotiate our beingness with objects, materials and space. None of it is a mass, and all of it is a mess that possesses a geometry – internal as well as external – a geometry, where the minute and the immense, the celestial and the terrestrial are interchangeable. Thus, a bodily experience exists within an almost indefinite elasticity to expand and contract through the medium of mind, consciousness and imagination.
When I make work, I want the viewer to walk away with a gift that has a very precise shape of uncertainty.
Seeing the world as sculptural totality is what allows me to go “behind the skin of things” and “indeterminacy of edges”. I am in the business of real estate for possible futures and alternative realities, constantly mapping out coordinates for one’s renewed beingness in the world.
 Gormley, Antony, On Sculpture (London: Thames and Hudson, 2015), p.14.
 Charles Ray Sculpture 1997-2014, exhibition catalogue, June 15 – September 28, 2014, Kunstmuseum Basel, p. 31.
 Gormley, Antony, On Sculpture, (London: Thames and Hudson, 2015), p.14.