The discus thrower turns blue, and starts to look around. His head trains back towards the object in his hand, the discus he has been poised to throw for a thousand years. He is depicted in a moment of dramatic balance, as his body rotates forward while his arm shoots back in preparation to throw.
This sculpture this cast is based off of is, in fact, a copy itself, modeled in the 19th century from the Townley Discobolus in the collection of the British Museum. The Townley Discobolus is a Roman reproduction of a 5th century Greek Bronze, yet it has one major difference from its original source material. When it was restored in the 18th century, the head was incorrectly put on facing down, instead of looking up towards the discus. Here, the athlete has broken free from his stillness and can turn his head and finally look back towards his hand a he gets ready to hurl the discus, relieved to finally be back in his correct posture.
The 19th century cast maker made his own additions to the Townley Discobolus, adding a strategically placed fig leaf to cover the sculpture's original nudity. While classical art, including sculptures in the ICAA's Cast Collection, heavily features nude figures to display ancient sculptor's interest in the proportion and inherent beauty of the human body, this censorship upheld the values of modesty held by the 19th century Victorian audience. In this 21st century interpretation, the leaf turns into pixelation, adapting to the familiar digital method of censorship of today.
Gary Carsley
The Townley Discobolus (Bros Bro) 2020
Single Chanel Video 4.10 mins
Soundscape: Louise Loh and Trombone Martin Hardy
Videography: Kenn Huang
After he wakes up and shifts his eyes about the room, the Discobolus looks directly at the viewer, desperate to connect. He rapidly blinks his eyes, seeking to communicate a message in Morse Code, but alas that is yet another outdated method of communication comprehensible to few. The audio and video sputter, glitch, and restart, a familiar experience in an age of virtual social interaction dependent upon technology for connectivity. The Townley Discobolus cycles through pigments and skin tones, leaving his white facade behind as he adopts the lively new palettes. The final frames of the video confirm that no one will see his vibrant show of colors- he lacks the signal to complete his call, his attempts to reach out futile once more. Who is he attempting to contact? None other than the accurate version of himself, the Lancoletti Discobolus in Italy with his head on the correct way.
Want to learn more about this video? Read the full artist statement here for Carsley's words about the piece.