From the introduction to Antony Gormley written by the artist:
I started with things close at hand, things that lay within arm’s reach, and have ended up making things bigger than houses. I went from dealing with bread and clothing, to the common ground of the body, having felt my way with trees and rocks.
Making sculpture stems from a need to leave a trace of existence, but there is an even greater need to challenge existence itself with mute objects that look back at us and question our materiality with their own.
Sculpture is a material measure—a form of physical thinking that can produce feeling. A form that can help us to think and feel in ways that we had not previously thought possible, as does the act of making the form. Sculpture has a bodily dimension—in touching you are also weighing, judging, anticipating. I am using my existence to change my existence.
A sculptural object is a testimony to the story of its own making, while having a dialogue with all the made and unmade things already in the world. The project moves forward by making, and looking at what one has made. Things demand to be made, but that demand comes from things that have already been made. At times it is difficult to know who is the maker, and who the made.
Sculpture can treat everything as raw material—whether it is a sophisticated readymade piece of technology, a body or a piece of wood. It achieves a self-sufficiency and independence whilst acknowledging a dependency on all that already exists.