Artists are not always the best people to talk about art. The creative process is intensely personal and can be driven by forces that even the practitioner does not fully understand. Equally, those who talk and write about it, are not themselves creators in visual media and have to tease the artist’s inner workings out of their own perceptions of the finished article.
However. There are times when these two worlds align, and Martin Gayford is usually one of the parties. He is one of the most cogent writers about art and the creative process there is and understands it in a way that few non-practitioners are able to. Even on his own, he is able to provide the reader with the sense of being an insider rather than simply a viewer – and this while that reader is looking at the page rather than the artwork.
Gayford is also a very effective collaborator and his conversations with David Hockney have illuminated works, the artist and the creative process all at the same time. This book takes the same approach: it is a discussion between Gormley and Gayford that covers three-dimensional work in stone, clay and metal from prehistoric times to the present day. Yes, it is substantial and it’s worth adding that the quality of production does full justice to the superb content.
If you asked a random member of the public to name a sculptor, the chances are that Antony Gormley would be the one they’d come up with. Not only will they know his name, but they’ll also be at least broadly familiar with his spare and idiosyncratic figures – the large public works such as The Angel Of The North that are impossible to ignore. We already know from other publications that Gormley can be eloquent on the creative method and he and Gayford here spark ideas off each other that are more illuminating than either of them writing alone.
A book such as this requires careful editing. All discussions include diversions and side-tracks that obscure the central point, but heavy-handed attempts to keep them at least appearing to be contiguous can easily leave the language stilted. Not so here and there’s a strong sense of a continuous narrative driven by shared enthusiasm and common, though not always parallel, ground.
This lands on you like a major work. It knows it is important, but it wears its learning lightly and, even though we probably expect it, it’s a pleasure to find that this is so.
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