When Gilbert Prousch and George Passmore met at Saint Martin’s School of Art in London back in 1967, the art world was buzzing with new ideas, pushing boundaries away from traditional painting and sculpture. Yet, what this pair embarked upon was something quite distinct, a radical commitment that would define their entire career: they declared themselves Living Sculptures. This wasn’t merely a performative act to be switched on and off; it became the fundamental basis of their existence and their artistic output, blurring the lines between life and art in a way few had dared before.
Their decision was a conscious rejection of the perceived elitism and detachment of much contemporary art. Instead of creating objects to be placed in galleries, they offered themselves. Their lives, their appearances, their interactions – everything became part of the sculpture. They adopted a uniform of sorts, almost always appearing in public and in their work wearing formal, slightly old-fashioned suits. This wasn’t just clothing; it was the costume of their ongoing performance, a visual signifier that they were perpetually ‘on duty’ as art.
The Birth of an Idea: Early Manifestations
The concept truly took physical form in 1969. Initially, they sent out ‘Postal Sculptures’ – small written or drawn pieces mailed to contacts, extending their presence beyond the physical. But the most iconic early work arrived shortly after: “Underneath the Arches,” often referred to as “The Singing Sculpture.” For this piece, they stood on a table, their faces and hands coated in metallic bronze paint, slowly moving like automatons while repeatedly singing the Flanagan and Allen music hall standard “Underneath the Arches.”
This performance could last for hours, even days. It was repetitive, deliberately artificial, yet deeply human. The choice of song, evoking nostalgia and a sense of shared, everyday experience, was significant. They weren’t presenting complex intellectual theory; they were presenting themselves, transformed yet relatable, as figures embodying both the mechanical and the melancholic aspects of modern life. Their movements were minimal, controlled, reinforcing the idea of sculpture – static forms brought to life, but life constrained within an artistic framework.
Breaking Down Barriers
The core philosophy driving the Living Sculptures concept was ‘Art for All’. Gilbert & George felt strongly that art should communicate directly and be accessible, moving beyond the confines of the gallery cognoscenti. By making themselves the artwork, present in the world, they aimed to engage a broader audience. Their very presence, walking through the streets of London’s East End in their suits, became a form of public art.
They stated their intention clearly: “To be Living Sculptures is our life’s work… Our life is the artwork.” This holistic approach meant that everything they did was potentially part of the sculpture. Dining, walking, talking – it was all filtered through their artistic personae. This wasn’t about revealing intimate biographical details in a conventional sense, but about presenting a carefully constructed, shared identity as the artwork itself.
Verified Fact: Gilbert & George first performed “The Singing Sculpture” (Underneath the Arches) at Nigel Greenwood Gallery in London in 1970. They applied multi-coloured metallic powders to their faces and hands and sang along to a recording of the song. This performance became a defining moment in establishing their ‘Living Sculpture’ identity.
From Performance to Pictures
While the early performances cemented their reputation, the concept of Living Sculptures evolved. Standing still for hours wasn’t sustainable as the sole medium. They began creating ‘Sculptures on Paper’ and, most significantly, large-scale photographic works, often arranged in grids. These pictures almost invariably feature Gilbert & George themselves, often depicted against stark urban backdrops, or surrounded by symbolic imagery drawn from nature, religion, bodily functions, and city life.
Crucially, they do not see these pictures as separate *from* their Living Sculpture status, but as extensions *of* it. The photographs are not mere documentation; they are another medium through which the Living Sculptures express themselves and their view of the world. The artists remain the central figures, the subjects and objects simultaneously. Their suited figures become recurring motifs, anchors within complex visual narratives. The grid format itself imposes a kind of order and formality, echoing the control and discipline inherent in their original ‘sculpture’ concept.
Themes and Consistency
Throughout their career, spanning over five decades, the commitment to being Living Sculptures has remained unwavering. Their visual language, while evolving in complexity and scale, retains core elements: the suits, the direct gaze, the grid format, the juxtaposition of the mundane and the profound. They tackle subjects often considered taboo or difficult – faith, identity, sexuality, patriotism, fear, hope, decay – but always through the lens of their dual artistic persona.
Their work often draws directly from their immediate environment in Spitalfields, East London. Street signs, graffiti, local youths, flowers, their own bodies – all become elements within their large photo-pieces. It grounds their sometimes grand or provocative themes in a specific reality, reinforcing the connection between their ‘art’ and their ‘life’. They present a view of the world that is structured, sometimes confrontational, often symmetrical, and always centered around their presence as the constant, observing sculptures.
Enduring Legacy
Gilbert & George’s concept of Living Sculptures was revolutionary. It challenged the very definition of sculpture and the role of the artist. By collapsing the distinction between the creator and the creation, they forced viewers to reconsider where art resides. Is it in the object, the performance, the idea, or the life lived according to artistic principles? For Gilbert & George, the answer is clear: it is in the totality of their shared existence.
Important Note: Understanding Gilbert & George requires accepting their premise. Their entire body of work, from performances to pictures, functions as an extension of their declared status as ‘Living Sculptures’. Judging their work solely as photography or performance art misses the central, unifying concept that has guided their practice for over half a century.
Their dedication is remarkable. While other artists might adopt personas or engage in performance temporarily, Gilbert & George have made it their permanent state. They remain instantly recognizable, their suited figures a consistent brand and artwork combined. Their influence can be seen in subsequent generations of artists exploring identity, performance, and the relationship between art and everyday life. The Living Sculptures are not just a historical footnote from the conceptual art era; they are an ongoing, monumental project that continues to provoke and engage, proving the enduring power of a radical idea consistently lived.
