Another Place is a large-scale public art installation by British sculptor Sir Antony Gormley composed of 100 life-size cast-iron human figures facing out to sea. The figures are cast from the artist’s own body and are installed along Crosby Beach on Merseyside, England, spanning roughly 3 kilometres of foreshore and extending up to about 1 kilometre into the tidal zone. These facts form the core, verifiable elements you’ll see mentioned in guidebooks, conservation briefs and local tourism information.
Origin and artistic intent
Antony Gormley created Another Place from a body of prior experiments with human form, landscape and time. The artist has repeatedly used casts of his own body to explore the relationship between human presence and environment; here, the repetition of a single human silhouette across intertidal space transforms personal scale into geological time.
Early exhibitions of the work appeared in continental Europe in the late 1990s (for example, Cuxhaven, Germany, and Stavanger, Norway), where the project was shown as a site-responsive installation before being placed at Crosby in 2005. The placement on an English estuary shifts the work’s conversation toward industry, shipping, the sea’s rhythms and the experience of local communities.
The Crosby Beach installation: history, dimensions and numbers
Material, cast process and dimensions
Each figure in Another Place is a cast-iron replica made from a set of body moulds of the artist. The figures were produced at specialist foundries and then transported and fixed onto foundations on the foreshore. Typical technical facts:
Cast iron was chosen for durability and the industrial echo it provides along a shipping estuary.
Height: approximately 189 cm (life-size).
Weight: roughly 650 kg per figure.
The iron surface is designed to weather: over time it rusts, takes on marine growth (barnacles, molluscs, algae) and becomes part of a changing coastal ecosystem. That process — the sea doing its work — is intrinsic to the work’s meaning.
Conservation, ecology and the 2021 reset
The 2021 reset & protective work
In 2021 a conservation operation took place when several figures had become subsumed by sand and mud in the estuary. Work involved excavating and re-setting certain statues, plus maintenance that aimed to ensure the sculptures were safely anchored and their foundations secure. Antony Gormley made remarks around that time expressing his hope that the figures might endure as “industrial fossils” for many centuries if managed properly.
Research on marine colonisation
Academic researchers (e.g., University of Liverpool teams) have studied how organisms colonise the statues, both as a curiosity and to understand invasive species dynamics. The findings indicate that the statues act as artificial substrates for intertidal organisms, offering a rare opportunity to study colonisation on vertical metal surfaces in a high-energy estuary. This research contributes to local ecological knowledge and to conservation decisions.
Management & safety
Sefton Council and associated partners manage the site, balancing the public’s right to access with safety and conservation responsibilities. That means some practical steps at times — temporary restrictions, repositioning of statues, interpretation signage and maintenance — all overseen in discussion with the artist and his team.
Why Another Place matters: public art, community and tourism
Another Place has become much more than a sculpture collection: it’s a cultural landmark, a magnet for photographers, an educational resource and a driver of local tourism. A few points that explain its significance:
Cultural identity: The installation has put Crosby and Sefton on the cultural map — described by some local authorities as a tourist asset that has increased local footfall.
Tourism benefit: Guidebooks and major travel sites highlight Another Place as a “must-see” for Liverpool visitors; TripAdvisor and VisitLiverpool list it as a top attraction, particularly for sunset photography.
Community conversation: From early controversy (nudity, placement) to eventual acceptance, the statues sparked local debates about public art, planning, and the role of international artists in regional spaces. The planning decisions and local engagement show how public artworks can reconfigure local identity.
Because Another Place blends art, environment and public use, its continued existence depends on a careful relationship between artist intent, local governance, conservation science and visitor behaviour.
Visiting Another Place: a step-by-step practical guide
Below is a pragmatic, time-tested plan for visiting Another Place, including how to pick the right tide, what to pack and safety considerations.
Step 1 — Plan the date & check tide times
The statues interact with the tide — many visitors prefer low tide because more statues are revealed and you can walk further out among them. Check a reliable tide table or a tide app for Crosby Beach (search “Crosby tide times” or use national tide services). Aim to arrive about 60–90 minutes before low tide for the best light and exploration window.
Step 2 — Choose the best time of day
Sunrise & sunset offer dramatic light for photography and fewer crowds.
Midday is brighter but harsher for photos; weekends can be busier.
Off-season (late autumn to early spring) gives dramatic skies and quieter beaches but comes with colder, windier conditions.
Step 3 — Travel & parking
From Liverpool city centre: Crosby Beach is about 9–11 km north of central Liverpool (depending on route). You can drive (allow time for parking) or take local rail/bus services toward Waterloo/Crosby. Check local transport websites for current schedules.
Parking: There are car parks and on-street parking near beach access points; during busy times they can fill early. Consider arriving midweek or early to secure a spot. Sefton Council’s site provides practical location details.
Step 4 — What to bring (packing checklist)
Sturdy footwear or well-gripped boots (sand can be wet and uneven).
Weather-proof outer layer, hat and sunscreen (coastal weather changes quickly).
Tide map or phone with tide app; portable battery pack.
Camera or smartphone, tripod if you plan long exposures at sunset.
Water, snacks and a small first-aid kit.
Dog lead and waste bags if you bring a dog (local rules apply).
Respectful behaviour: the figures are artworks — do not attempt to climb or sit on them.
Step 5 — On the beach: safety & etiquette
Never attempt to reach statues that are far out at high tide — strong currents and quicksand-like mud can be dangerous. Stick to the tidal windows.
Observe signage — some statues may be temporarily isolated due to conservation work.
Don’t damage or vandalise the figures; they are public artworks protected by planning and heritage regulations.
Step 6 — Combining the visit
Pair a trip to Crosby Beach with:
A coastal walk (the nearby promenade and Hightown provide scenic paths).
A pub lunch at one of the local inns or cafés (check opening times).
A visit to Liverpool’s cultural sites — the Tate, museums and waterfront — for a full day of arts-focused experiences.
Photography, behaviour and ethics around public artworks
Photography tips:
Golden hour (early morning or late evening) provides dramatic silhouettes of the iron figures against the sky. Plan to be on site well before golden hour to choose vantage points.
Use a wide lens to show multiple figures in context; a telephoto compresses distance and can create intimate portraits of individual statues.
Long exposures at low tide can create ghostly, moving water effects around the bases—use a tripod and ND filters where necessary.
Practical tips: timing, amenities and combining visits
Best months: April–September for milder weather and longer daylight, but winter visits are atmospheric and quiet.
Crowd management: Weekdays (especially mornings) are quieter. Weekends and bank holidays draw larger numbers.
Amenities: Nearby cafés, pubs and public toilets exist but can be limited—pack water and snacks if you’re exploring for longer. Sefton Council’s visitor pages list local facilities.
Recent trends : art, environment and tourism
By 2025 a few clear trends are shaping how people experience Another Place and coastal artworks more generally:
Heritage + environmental management collaboration
Conservation of artworks like Another Place now routinely integrates ecological monitoring (e.g., how marine organisms colonise statues) and engineering interventions to protect both safety and heritage values. Research from university teams on colonisation and the 2021 reset emphasise this collaborative approach.
Sustainable cultural tourism
Tourism strategies increasingly emphasise low-impact visits (public transport, off-peak travel, local spending). Local councils promote these as ways to capture tourism benefits while protecting sensitive coastal landscapes. VisitLiverpool and local authorities include Another Place in environmentally aware visitor information.
Anniversary and community programming (2025)
By 2025, local celebrations and programming around landmark anniversaries (for example, two decades since permanent installation) have generated renewed public interest and local events. Community groups, arts organisations and local councils have used these moments to discuss site stewardship and to attract visitors responsibly.
Real-life examples & research findings
Example 1 — Visitor experience: sunset and solitude
A photographer’s account (featured on travel sites and blogs) describes arriving an hour before sunset at low tide, walking among partially exposed figures, and using the golden light to frame silhouettes against cargo ships moving on the Mersey — a narrative echoed in many TripAdvisor and travel writeups that highlight the location’s photographic appeal.
Example 2 — Academic study of colonisation
Research published via academic channels and summarised by local media has documented how barnacles and other intertidal organisms colonise the statues, sometimes introducing non-native species but also providing a living laboratory for intertidal ecology studies. These findings inform maintenance decisions and raise important questions about how art structures interact with ecosystems.
Example 3 — Community & planning debates
From the time of its initial installation, Another Place prompted debate: questions ranged from aesthetic objections and concerns about nudity to planning matters and public benefit. The 2007 planning outcome (allowing permanent installation with modifications) is an example of how controversial public art can be negotiated through local democratic processes.
FAQ
Where exactly is another place located?
Another Place is installed along Crosby Beach on the Sefton coast (Merseyside), north of Liverpool. The statues are spread over roughly 3 km of shoreline between Waterloo and Blundellsands and extend out into the tidal zone. For precise access points and parking, consult Sefton Council’s visitor pages.
Are the figures accessible at high tide?
No — many figures that extend far out are submerged at high tide. For the safest and most complete access, plan your visit around low tide and follow local signage on safe areas. Never attempt to reach statues that are far offshore when tides are rising.
Can I touch or climb the statues?
No. While the figures are outdoors and in public, they are works of art protected by planning and conservation rules. Climbing or sitting on them risks damage and personal injury. Respect the artwork and local signage.
What is the best time of year and day to visit?
For photography and dramatic light, sunrise or sunset at low tide is ideal. Spring–summer offers milder weather and longer daylight, but winter visits can be quieter and atmospheric. Always check tide schedules and local weather.
Has anything been done to preserve the statues from corrosion or burial by sand?
Yes. The statues are subject to conservation management, and interventions have been undertaken — for example, the 2021 reset where some figures were excavated and re-set due to burial by sand and mud. Local authorities coordinate maintenance with the artist’s team and conservation experts.
Wrapping Up
Another Place is a rare example of an artwork that belongs simultaneously to art history, to a living coastal ecosystem and to local communities. Its 100 cast-iron figures — life-size, weathering and partly colonised by marine life — invite visitors to think about presence, time and place.
If you’re planning to visit, use this guide to pick the right tide, pack appropriate gear and combine your trip with local cultural amenities. If your interest is academic or conservation-focused, consult university publications and Sefton Council’s technical pages for deeper reading on ecological studies and maintenance operations. Enjoy the walk, the light and the strange comfort of 100 silent sentinels staring out to sea.
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