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Environmentalist Inspirational Quotes (8146)

Page 9 of 340
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It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.
Andy Goldsworthy
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I have six acres in front of my own house, which I very rarely work on. Most of the work occurs on farmers' fields around me. And I like the discipline of working on other people's land.
Andy Goldsworthy
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I think that I'm always trying to get beyond the surface appearance of things, to go beyond what I can just see.
Andy Goldsworthy
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I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.
Andy Goldsworthy
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The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.
Andy Goldsworthy
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Design implies a sense of mapping something out and then you follow the plan.
Andy Goldsworthy
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I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful.
Andy Goldsworthy
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The main reason I went to digital was because I got time-lapse, video, and still images all in one camera. Having a minimal amount of gear is really important for someone who wants to walk around. That allowed me to have this flexibility to document things in different ways.
Andy Goldsworthy
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Sometimes you need to stop doing something to really see it afresh.
Andy Goldsworthy
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The photography is not the aim of the work the articulation of the work through photography is another way of understanding what's going on and what's happening outside.
Andy Goldsworthy
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If I'm going to understand the land, I have to understand the wind, the snow, the rain, the leaves, the ice, and changes in temperature. It just reflects a reality for me.
Andy Goldsworthy
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Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.
Andy Goldsworthy
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The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
Andy Goldsworthy
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We often forget that we are nature.
Andy Goldsworthy
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I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
Andy Goldsworthy
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Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.
Andy Goldsworthy
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There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.
Andy Goldsworthy
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The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.
Andy Goldsworthy
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When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.
Andy Goldsworthy
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I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
Andy Goldsworthy
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There are occasions when I have moved boulders, but I'm reluctant to, especially ones that have been rooted in a place for many years.
Andy Goldsworthy
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I can't edit the materials I work with. My remit is to work with nature as a whole. I find nature as a whole disturbing. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
Andy Goldsworthy
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A lot of my work is like picking potatoes you have to get into the rhythm of it. It is different than patience. It is not thinking. It is working with the rhythm.
Andy Goldsworthy
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The early firings contained many stones.
Andy Goldsworthy
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