An epic undertaking has resulted in a large art installation of clay figures in a deserted factory. Hundreds of people have been involved in its creation. Reporter Wang Jie uncovers what it all means It's an amazing view. Nearly 200,000 pairs of hollow eyes stare quietly at visitors. But they are no ordinary eyes. The eyes are lifeless, blank and empty, yet they have a strange power.
At first sight, the clay figures look like the terra-cotta warriors from the ancient city of Xi'an. But they are not. They are the product of British sculptor and artist Antony Gormley's imagination. He calls it "Asian Field." Since 1989, Gormley has been committing himself to this ongoing "Field" project, which involves working with communities throughout the world, such as Brazil, Australia and Northern Europe.
Part of the upcoming Fifth Shanghai International Arts Festival, the local installation, inside the deserted Shanghai No 10 Steel Factory on Huaihai Road W., is a unique feast for the eyes. "I was amazed to see the final effect of my work at this factory," says Gormley, 53, wearing an ash gray sweater. "Although originally I planned to put them inside a barn in Pudong or on a ship floating on the Huangpu River." Gormley's early intention was to stress the relationship between city and countryside. "But now a typical industrial site also expresses the confrontation and involvement between the two," he adds.
Gormley has a particular interest in choosing his exhibition venues. This March in Guangzhou, "Asian Field" was held inside an underground parking lot. And several months later in Beijing, the clay figures were stuffed into a museum near Tian'anmen Square -- even British Prime Minister Tony Blair visited.
Here in Shanghai, the rusty steel and cranes create a mysterious, yet oddly familiar aura to Gormley's work. Portraits on the wall at the factory are the artist's salute to about 300 Guangzhou locals responsible for making the clay figures. Under Gormley's guidance, each figure was made hand-sized.
The only requirements were that the sculpture had to stand upright and have two eyes. "China, with its ancient civilization, vast land mass and agrarian culture provided both a major source of inspiration and a great challenge," he says. "The meaning of 'Asian Field' in China tries to explore the emotional knot toward its traditional collectivism."
However these miniatures also help the viewers recall the famous terra-cotta warriors in Xi'an. Just don't mention "Asian Field" and the terra-cotta warriors in the same sentence to Gormley. "He doesn't like others to compare his work with the terra-cotta warriors," says a staff member with the British Council in Shanghai. It is difficult to get Gormley to talk about the issue directly. "I visited Xi'an in 1995," Gormley says. "But I felt sad when viewing the royal army. They represent the supreme power shown off by an emperor to his subjects."
Regardless of Gormley's intention, many interpretations are to be made from "Asian Field." One is that power, contrary to the treasure of Xi'an, comes directly from ordinary people. "Gormley's work has ignited a new thought," says Li Lei, deputy president of the Shanghai Oil Painting and Sculpture Institute. "We often think art should be above life, but 'Field' shortens the gap. It is closer to us." For Gormley, an exact understanding of his work is no longer important, he'd rather have more people involved in its creation.
In a bid to attract a larger audience, the British Council selected 10 local families via Internet to arrange the clay figures a week before the opening date in late September. Wang Jin is one of them. Hurriedly bending to place her group of clay figures, Wang, a 20-something kindergarten teacher, is excited and engaged. "I felt lucky to be selected," she says. "It's fun to line these figures according to my own will. I hope that we can have more similar art events to entertain ourselves."
Playing with clay, one of a child's favorite activities, is reoccurring under Wang's hands. The gaiety is permeated in every corner at the factory where hundreds of children participated. "We were brought by the teacher for an extracurricular class," says Yang Ming, a 10-year-old primary school student. "I think I understand the work, it's not very difficult." These children -- some drawing sketches, some taking photos, and others teasing their peer -- enjoyed the clay figurines. "It is a good idea to invite the children to visit," says Meng Bo, a primary school teacher. "They are curious about the location, the clay figures and the abandoned factory."
In the eyes of the young, their understanding of the work goes surprisingly deep. "It reflects the great passion human beings have toward the Earth," writes one of the children at the entrance gate. Similar words are seen at the message board with drawings by the children. "That's the charm of 'Field'," says Li. "No matter how old you are, what your occupation is, everyone has his or her own 'Field' when standing in front of them."
Performance Details
Dates: 12 am - 8 pm, September 27 -- October 27
Venue: 570 Huaihai Rd. W. Shanghai
Ticket Price: Free
Tel: 021- 6280-5838
(eastday.com October 9, 2003)
