Sculpture on the Suffolk coast

I recently had the opportunity to view one of Antony Gormley’s sculptures while visiting family in Suffolk. The seaside town of Aldeburgh is the temporary location for one of five installations (called LAND) produced by the artist to celebrate 50 years of The Landmark Trust. Gormley’s life-size human figure stands precariously on top of the Martello tower at the Slaughden end of the town. The tower was built in the early 1800s when it was feared that Napoleon might invade, but has since been renovated by the Trust for use as holiday accommodation. Three of the four remaining sculptures are also located on coastal sites. They are intended to convey an environmental message in addition to highlighting The Landmark Trust’s achievements in rescuing and maintaining old or unusual buildings. In true Gormley fashion the cast-iron figures are symbols of our industrial past, exploring the relationship between man and nature. 

The Aldeburgh figure looks out across the North Sea with folded arms as if to suggest it is defending this spot, thus mirroring the original purpose of the tower. Yet there is a more 21st-century reason for this act of defiance – the need to repel the advances of the sea itself. It acts as a poignant reminder that coastal erosion and flooding can pose a serious risk for the local population in this area. With location choices like this, Gormley raises questions about climate change, asking us to consider how humans might respond as the “inheritors of an Industrial Revolution” (artist’s own words)…a sobering thought for a day out at the sea.

Situated further up the shore is another sculpture by a well-known British artist. The beach between Aldeburgh and Thorpeness is home to Maggi Hambling’s notorious Scallop. The undulations of the stainless steel structure famously catch the light in a way that evokes “wings rising in flight, swimming fish and the ripple of waves” (Suffolk Coastal website). Like Gormley’s work this scallop shell encourages a “conversation with the sea” (artist’s own words). Hambling’s design allows a visitor to sit at the centre of the sculpture and “contemplate the mysterious power of the sea.” 

Scallop was placed on this stretch of beach as a tribute to the Lowestoft-born composer Benjamin Britten. Pierced through the steel structure are the words “I hear those voices that will not be drowned.” These words are taken from the opera Peter Grimes, which Britten wrote about the life of a fictional local fisherman. The siting of Scallop is reflective of the inspiration he drew from the sea during many years spent living and working in the area.  

Some feel that Scallop spoils a natural landscape, contesting the siting of the sculpture, which is now owned by the District Council. Since its installation in November 2003 the shell has been vandalised on numerous occasions and had petitions raised against it. Some believe it should be moved to nearby Snape Maltings – home to a renowned concert hall, art galleries, shops and restaurants. However, it is sad to think that works of art like this should only be confined to the spaces of traditional cultural venues. Part of the allure of Scallop is the fact that it is boldly situated amongst the elements – a fitting tribute to a national treasure that is built to withstand winds of up to 100mph.

Those who contest the placement of public art might be reluctant to admit that the extra visitors and income attracted by the works are important for tourism-reliant local economies.  Perhaps the best way to please all parties is to commission pieces that are temporary, such as the aforementioned sculptures by Gormley. A recent competition launched by Snape Maltings may have found a solution to future dilemmas like these. They have asked designers to provide ideas for a child-friendly sculpture that can be taken down and moved around. It is hoped that the finished piece will tour the region – another benefit of a temporary structure. It will also encourage children to interact with the work and pay attention to its surroundings. This idea was inspired by the fact that children have always enjoyed climbing on the sculptures at Snape Maltings – the names Barbara Hepworth and Henry Moore hold little resonance with them. It will be interesting to see what design is chosen and how it will be received by a younger, more open-minded, audience.

To follow the progress of the Children’s Viewing Sculpture Competition check this website.

Antony Gormley’s sculpture can be viewed at Aldeburgh’s Martello tower until May 2016. Tours of the roof terrace, allowing closer inspection of the sculpture, plus holiday accommodation inside the tower, can be booked via www.landmarktrust.org.uk.

The four other sites where Gormley’s LAND figures are freely accessible are:

Clavell Tower, Kimmeridge Bay, Dorset
Lundy Island, Bristol Channel
Saddell Bay, Kintyre Peninsula, Scotland
Lengthsman’s Cottage, South Stratford Canal, Warwickshire