HORIZON FIELD HAMBURG is part of Antony Gormley's series of participatory works. It relates to and extends the previous experiments of ONE & OTHER's high plinth (2009), the disorientation of BLIND LIGHT (2007) and the horizontal plane of HORIZON FIELD in Vorarlberg, Austria (2011 - 2012).
ONE & OTHER invited 2400 people to occupy an empty plinth in Trafalgar Square, London in place of a statue and become representations of themselves for one hour each. BLIND LIGHT immersed the viewer in a bright, dense cloud removing all visual objects, making the viewer's consciousness the subject of the work. The iron bodies of HORIZON FIELD Vorarlberg engaged the viewers in a perceptual field.
HORIZON FIELD HAMBURG is a vast, floating plane with a mirror-like surface, seven and a half metres from the ground. The suspended floor uses the structural capabilities and architectural context of the 100 year old building of the Deichtorhallen to re-orientate the viewer/participants in time and space and toward each other.
It allows a new point of view to see the interior of the building and from it, through the clear lower roof lights, the city.
The work is experimental and invites adventure. It's structure is live and responsive to human movement. It has the potential of oscillation at 7 hZ, or a seven minute swing cycle. With a weight of between 50 - 65 tonnes small groups are able to swing the whole floor very slowly. Anyone wishing to initiate change or movement has to communicate with others. The evolution of collective behaviour on the HORIZON FIELD HAMBURG depends on feedback, both via word of mouth and social media. This work provokes an experience of re-orientation and re-connection with the actions of walking, feeling, hearing and seeing. Individual and group experience are mediated through vibration, sound and reflection.
HORIZON FIELD HAMBURG eliminates much of the light from the roof to the ground floor of the space. When you are underneath the floating structure there is an acoustic transmission of the footfall above. One is acutely aware of the weight of the work and its detached instability. Every quality of the day or night, every sound and accident of light is part of the work itself.
This entire project could be seen as the translation of a large painting into a literal sounding board for the spirit and consciousness of the viewers. They become active participants in a plane of 'un-knowing' in which individual human life is suspended between sky and earth. The work acts on and mediate between the space-nature of consciousness and the gravity-bound condition of the body, reframing the excitement of being alive.