tand (2023) continues Antony Gormley’s decades-long investigation of the body as both subject and structure. Fabricated in Corten steel, the work measures nearly five meters in height, its oxidized surface grounding the figure in the language of architecture and landscape.

The sculpture abstracts the human form into rectilinear volumes: stacked blocks that echo architectural modules and urban towers. Despite its fragmentation, the work retains anthropomorphic presence—recognizably a body, yet reimagined as constructed mass.

Scale destabilizes reading. At 471 cm tall, Stand dwarfs the viewer, transforming a single human form into an environment. Each block reads simultaneously as part of the body and as an architectural unit, collapsing distinctions between anatomy and structure.

Materiality plays a central role: the rusted patina of Corten steel evokes time, weather, and endurance, situating the work between industrial fabrication and elemental erosion. Representation is pared down to essentials, but ambiguity remains—does the figure stand as person, monument, or building?

In the archive, Stand resonates with Gesamtkunstwerk by merging sculpture, architecture, and human form into a single vocabulary. It is both body and building, both fragment and whole—an object that demands to be read not only as a figure in space, but as space itself.