One of Anthony Gormley’s Blind Light iron statues, silhouetted against the green grass of the National Theatre’s fly-tower, as sown by artists Ackroyd and Harvey.
I went via Waterloo Bridge this morning to snap the same view in the daylight. Only then did I notice that another statue was perched on the roof of the National Theatre. And, once you’ve noticed one, you suddenly notice them all – sentinels atop dozens of buildings along the Embankment, and the South Bank. It is as if they have crawled out from their hiding places to watch you.
But Blind Light is no sort of mystical experience. It is from the art funfair, and whatever Gormley says about undermining space or making the people into the art, I notice there is no spiritual-scientific mumbo-jumbo in his title. In that sense, although it seems to be a one-off, it is a true sign of the way Gormley is heading. Which is straight towards ever-greater recognition and visibility. Spot the Gormley on the roof, up the hill, at the beach, in the movie.