This image relates to our final piece and is translated in the way that we present ourselves to the audience. We stand with a strong and open stance and are open to whatever questions the audience want to ask us.
This sculpture is a plaster mould of the artist’s body, reinforced with fiber glass and encased in a skin of soldered lead. Gormley uses his own body to examine the physical and spiritual relationships between humankind and the natural world. He says: ‘sculpture, for me, uses the physical as a means to talk about the spirit…a visual means to refer to things which cannot be seen’ .
Gallery label, October 2016 (source: http://www.tate.org.uk/art/artworks/gormley-untitled-for-francis-t05004)
This relates in the sense that we explored issues that are normally covered up and so we revealed the rawness and truth in society. We didn't cover anything us, instead we answered them.
This links because we all see things differently and interpret things in different ways. This means that some things that may bother or tie me down, might not bother others.
Combining human and animal forms and mixing recognisable and unfamiliar elements, Jane Alexander’s African Adventure. The objects positioned among the figures include sickles, machetes, a Victorian christening dress, boxes for explosives, a steel car and a worker’s overalls. These relate to themes such as migration, trade, labour, colonial legacy, conflict and faith. But African Adventure does not present a particular moral or political message, as is often expected from work made in South Africa in the immediate post-apartheid era. Like the hybrid human-animal characters who are both confrontational and vulnerable, the work is ambiguous, moving between realism and metaphor, mixing the everyday with the uncanny. (source: http://www.tate.org.uk/visit/tate-modern/display/artist-and-society/jane-alexander)
Room plan:
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