Last Tree 1979

Editor: Here we have Antony Gormley's "Last Tree," a sculpture made of wood dating back to 1979. It's basically a tree trunk with its rings carved out. There is something so raw and minimalist about it, even a bit melancholic, what catches your eye in this piece? Curator: Formally, the concentric rings, meticulously hollowed, establish a profound visual rhythm. Observe how Gormley transforms a found object, imbued with organic origins, into a study of geometric abstraction. Note the tension arising from the interplay between the rough bark and the precise carving. How does this contrast affect your interpretation? Editor: I see what you mean. The bark is rough and natural, but the carved interior feels so deliberate and controlled. It's a sharp contrast. Curator: Precisely. This controlled carving isolates the inherent form in nature; this dissection invites a phenomenological approach. We perceive the artwork as an isolated element from nature, not something with ties to the earth. Further, consider the use of negative space within the rings and how this impacts the object’s presence. Editor: The hollow rings almost seem to define the shape of absence. So it’s the wood itself that is important as much as what isn't there? Curator: Yes. The emptiness, created through subtraction, is equally crucial. It is by means of subtraction that we are pushed to focus solely on its materiality, composition and its engagement with the concept of form itself, transcending a simple representation of a tree. Editor: I never thought about it that way. Focusing on its construction really elevates it from being just a piece of wood. Curator: Exactly! Hopefully, this analytical deconstruction allows us to really decode the intended expression of this piece. Editor: This has certainly been insightful, thank you. I feel like I can appreciate minimalist sculpture so much more now.