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which is straight after this programme. i'm antony gormley. i'm a sculptor... ..and i've invited four young artists to join me in the studio today to share with them a bit of my life, the collective life of the studio, but also to maybe talk with them a bit about what their ambitions are and how they make their work. it's quite a rare opportunity for artists at our stage in our careers. i've never been in a studio i like this before, so i think it will be very interesting. yes, excited and curious what's going to happen. we don't really get that many opportunities to talk- to artists about their process. it's going to be an interesting experiment, and i'm looking forward to meeting them and seeing what we do together. can, can...? can the mic pick i

up my heartbeat? my name is anna usadi and i am a student at goldsmiths. i think antony is an incredible artist. it's really exciting to see where his practice has ended up, given that he studied here. i grew up looking at his work, and i've seen quite a few in different spots on the street, on top of buildings. really forces the viewer to think about the role of people on this earth. i'm a sculptor as well, and i'm really interested in his use of materials and how

it's kind of exposed to elements and how it's interacting with the landscape and the natural surroundings. he's quite a prolific artist. he has gone through so many different stages in his life. . his work focuses on the body, and my art is all about - what it's like to be human, and so it's really— an incredible experience - to actually get to talk to him. my work explores the relationship between the human body and earth, and understanding the landscape as a living entity. the possibility of having a personal dialogue with an artist whose work has the scale of antony�*s is a great chance to learn and to have this intergenerational dialogue.

welcome, everybody. i'm antony, and this is where i've been working for, well, now 22 years. come on in. we took over this site in 2000, and it was the best thing that i ever did, because making a space that, in some senses, was a manifesto, the ambition that the work might have, it was an important step. this is the main engine of the whole studio. at any time, there may be between three and six people working in this space. so it was a big surprise to see the studio from the inside and to see the scale of it. it's a very light, open space. it's kind of a dream space for an artist. andrew, can we come and bother you? andrew's making a work called freeze. this is made inside a mould that is taken from my body.

and what's been the joy and the frustration for you? i think one of the more difficult things that you can get these cells almost complete. and then, if there's a little bit too much heat going into it... you can burn it. ..it blows it away and start from the beginning. but, yeah, nice challenge. i think it is a creative community, essentially. i just think that model of the artist as an individual in an isolated space, doing their own work in their own time, is a very outworn model. this is basically two loops. and, yeah, you can see how unstable the whole thing is. this is a challenge. it's quite springy. yeah. i mean, the more recent designs, we've kind of really tried to open them up and experiment with the negative space, really. and that's allowed movement that you see in the work. i think of this as a mixture

of a factory, a playground... ..and a laboratory. the joy of the studio for me is that we're all, in a way, upping each other�*s game. hi there, maria. maria has evolved this to a level of excellence that we couldn't have imagined. you can see that this is... yeah, pretty much derived from a scan of a mould of me. we've got a lot more seams and a lot more welds. and it's becoming more complex as we go. anyway, it's uncannily quiet in here today, but, normally, it's really, really loud and noisy and there's a lot going on. but, anyway, i wanted us to go up to the drawing studio and maybe we can have some fun making stuff. yeah?

we're going to make the table very messy. so we're going to play three games. they call it a masterclass, but, as far as i'm concerned, we're going to have some fun. we're each going to make five hand—sized balls. and i think they should, should be a decent, decent size. and then we'lljust, um, put them one after the other and space them out. how many of you work in clay? i do sometimes. 0h! everybody. that's good. i love clay. i love clay, too, because clay is earth. and, well, it feels like an extension of the flesh, doesn't it? yeah. it's interesting how terracotta has this colour that is red because it has iron.

and we also have iron in our blood. i really love that. because, actually, we are material. when i... when i asked them to get the clay, i asked for red clay. 0k. i think i've made my five. has everyone made their five? yes? 0k. going to clap my hands. now make something. i don't care what it is, just make something. and you have not very long to do this. stop! now put what you've made down in front of you and move to the left—hand side

of the object, to the left of you. yeah? so, have a look at the object, feel it, look at it, and now... he claps. ..interpret and make stronger what it is that you have found in the piece that is in front of you. it's a simple game that i devised nearly 50 years ago when i first started teaching. i wanted the making to be the most important thing, rather than the thinking, or the, in a way, predetermination of anything. stop!

put it down to the left. and now move two places to your left. make it again. stronger. clearer. it felt quite quick. it really forced us to just follow our instinct. as the process went on, we all kind of loosened up. it became a bit more free and fun. stop! they laugh. don't worry about incompleteness. incompleteness is a very good thing. ok, so you're moving three places now. make it stronger. it was also veryjoyful

being able to have this space of freedom, not knowing exactly what's going to happen. and then you're surprised yourself, but what is the outcome? i think it was designed to make usjust practise and work with our hands and not really be concerned too much about the outcome. 0k, put it down and move four places. 0k... ..pick it up. start making it stronger... ..clearer, purer. this was a conversation - between us and an art form. and also it was very. interesting to see how these shapes evolved, | because some of them started from...

..something very. abstract and evolved into something quite tangible. 0k, stop. well done, everybody. so i think we should just do a little circuit and just look. there are a lot of things you could say, but i want to keep the saying till a bit later. i think the language of the making itself was so clear. there was a logic to the evolution of those forms that was self—evident in the linkage between every element in that ring. now, what i would like you to do is each take another ball of clay about the same size.

so then turn the seat away from the table. so i want you to make a form that you feel... ..can be you. so, you could say, well, is this a self—portrait? or is it a kind of talisman? something that carries your spirit, your inner life. the second exercise is a bit woo—woo. it's attempting to materialise internal conditions of mind and body into an object. it's almost like i'm asking the maker to make an internal organ that doesn't quite exist yet.

when you work with clay, somehow it just sucks - up your attention. and only then i realised - that we didn't speak, almost, and we were just so focused. i tried to kind of ignore the pressure of the end result. i really enjoyed the process ofjust seeing... ..where my hands kind of took me. we were also somehow forgetting where we were, in a way, because we were so connected to the clay and to the objects. i was quite moved by the atmosphere that arose very quickly. that silence that was really just about. .. ..the sound of fingers in clay. can you now, everyone, stop, and marlene is going to come and collect your work. 0k, spin �*round now and pick

a work that you know you haven't made yourself. go on. all i want you to do is hold this and look at it, and then just tell us what it's telling you. well, it is a vessel. i really like to see the traces of the hand, the traces of the fingers. i really like the warmth of it. ifeel, like, the temperature of the person who was holding it and was shaping it. many of the artists talked about the warmth of the clay. that was, as it were, a residual transfer of the person that had been making it. form carries feeling, often unconsciously, and in the same way that we read each other�*s body language, exactly the same thing is true

for those objects. it feels organic to me, like it has grown into being. it's almost like a bone — part of the spine or, you know, like a hip bone. anna? erm... yeah, in this piece, you can see the marks of the finger and the hand very clearly. and there are more than two handprints, so it also makes me think of collective or community. yeah. i guess the shape of it, it feels really kind - of expanding and expressive. it looks a bit like some sort of sea creature. . oh, it's almost like an octopus upside—down or something, that's kind of wanting to feel the air.

yes. and wants to stretch out. this is a vessel, but it's perforated and it's...it�*s broken through its own containment at the bottom. and then notjust at the bottom, but all around. there are buds wanting to break out. it was actually antony who was looking at my work. i think i live a lot in my head. like, i'm quite an internal person. i started creating kind of cracks and bulges in the form to reflect how i have kind of ideas that i want to share. it's got a desire to both contain but also explode. you know, i think part of the beauty of this whole exercise is that this language of the hand... ..is... ..speaking, erm... ..without words.

we're going to do our last game, or exercise, so let's make one more ball each. there you go. thank you. what i want you now to think about is the body, not as an integrity, not as one system, but as parts that work together. the standard way in most figurative sculpture is to think about the torso and then five extensions — two arms, two legs and a head. but that may not be the way that you want to think about the body. we can spend five or six minutes making a body as a kind of conversation between parts to make a whole. antony is, of course, very interested in the human body and the way that it has a lot of different connecting parts that work together. we are all made up of atoms and molecules.

we're made up of mass that becomes energy. in the work that i do, the breaking down and building up — the deciding, as it were, what the unit will be that makes up the whole has become, well, maybe the leitmotif of the work for the last 30 years. being inspired by a lot of antony's work, i decided to create a disembodied body. almost a container with compartments or a heart with different chambers. the form i created was kind of a sphere with lots of connecting rods coming out of it, just to show how the different parts of the body could be considered equal. but i think as it started coming together, i also realised it was starting to look a bit like a cell or a virus, which i think is interesting how kind of all living forms

are connected in some way. and in a human body that was pretty much recognisable with the movement of the legs and arms, but also resembled the landscape. understanding landscape as a living entity and as a body. i started thinking what - the body is and what shape it can translate to. i was thinking of the blood i circulation, how it's running in a loop, so i created this. form that resembled a little bit the blood vessels - and a little bit some sort of closed system. good—oh. i think we're there. erm, what i loved about what we've been doing for the last half an hour,

on the whole, is that we've shared that silence and that feeling of things arising. it's a rare thing, ithink, in... ..the times that we live, where we are constantly using words or images in a way to prove something. you know, it'sjust been a privilege and a lovely thing, making things that maybe don't need our words. i think there's a reason that we're all artists. you know, it's a way for us to process and then share things that maybe we couldn't through words or other means. i feel that the making kind ofm _ ..became so kind of| important, in a way, that words were not needed. i think we sometimes also forget, in the pressure of time, of making work that has a deadline, and, yeah,

it's wonderful to be part of a space and time where you kind of play together and create together. it is play, though. play is at the basis of it all, isn't it? i say to everybody, you know, you've got to have a bag of clay in, you know, in the cupboard, erm, so...so you can stay in touch with your inner child or whatever, that can, you know, make things that never existed before. anyway, it would be really lovely if you would alljoin us for lunch. every day we all break for an hour and we have lunch together, and it would be lovely if you come along, too. chatter. it was genuinely a very special experience to see this collective aspect of art making. ifeel like maybe, going back to my own studio, | i'm going to try and be a bit more free. - kind of not thinking so much about... . ..the end goal feels exciting.

yeah, that sense of play. i definitely am going to get a bag of clay and just have it in the studio now. i was just very touched and impressed by their dedication and interest in the potential of art. art is the way that life expresses itself. the way you speak, the way you dance, the way you make music. art, in a way, is something to be lived with and is a product of life. and i felt that all of them understood that and were trying to find a way of making that real.

hello there. this really cold spell of weather is coming to an end in the next few days, but we still have some cold, frosty and icy conditions this weekend. it was particularly cold in the midlands where the fog lingered, and we have some fog in eastern england and also in northern ireland overnight. and these are the temperatures early on sunday morning, so a widespread frost. those temperatures not quite as low as they have been over the past few nights, mind you. that's because there's a bit more cloud around that's pushing its way through the midlands into eastern england, the mist and fog lifting. sunny spells developing in england and wales, the fog lifting in northern ireland. as the cloud comes in, the winds pick up and that cloud will push its way into scotland, bringing a little rain into the far northwest. but for many eastern parts of scotland, northern england,

down through the midlands towards the southeast, it's still a cold day, butjust not quite as cold as it has been just recently. the really cold air that's been trapped underneath that high pressure — that's getting squeezed to a certain extent, allowing these weather fronts to topple down from the north—west to bring a bit of rain. but more significantly, we're picking up a stronger wind coming in from the atlantic this time, and that's lifting the temperatures. early on monday, quite a contrast in the uk. a very mild start for scotland and northern ireland, but still cold enough for some frost towards the southeast. here, the winds are a bit lighter. we may have some sunshine around on monday. elsewhere, that wind is picking up, blowing in the cloud. a bit of rain moves through scotland, northern ireland, into northern parts of england and north wales. a little bit of rain follows on from that as well. but it's the change in the wind direction and the strengthening of this south—to—south—westerly wind that is tending to lift the temperatures. it's still quite chilly, perhaps, on monday across large parts of england and wales, where temperatures are going to be 5—6 degrees perhaps. but it is much milderfurther north — 12 or 13 in scotland

and northern ireland. as we head into tuesday, we're still close to high pressure in the south, where it's a bit chillier. but elsewhere, the winds are coming in from the atlantic bringing in a lot of dry weather, but a lot of cloud, and we're continuing to see those temperatures rising — perhaps getting into double figures across parts of england and wales. again, 12 or 13 further north. and the highest temperatures over the week ahead are likely to be in scotland and northern ireland. still a bit chilly across the far south of england and wales at night, with a risk of frost, but otherwise, we've got a breezy air, cloudy air and temperatures are rising.

live from washington, this is bbc news. fire crews in los angeles brace for stronger winds as canada

and mexico join the effort against destructive wildfires. this against destructive wildfires. one is dropping fire reta rda nt this one is dropping fire retardant right on top of the fire there in a desperate bid to stop these flames. and celebrations in sudan, after the army captures a strategic eastern city from the paramilitary rapid support forces. and uk chancellor rachel reeves announces trade agreements worth £600 million during a visit to china but is criticised for the timing of her trip. hello, i'm carl nasman. more evacuation orders have been issued in los angeles, where crews continue to battle multiple wildfires. the largest blaze is now bearing down on a new area — the wealthy neighbourhood of brentwood. here are live pictures from the scene right now. at least 11 people have been killed so far and 13 others are missing.