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Land Artist Inspirational Quotes (305)

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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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People also leave presence in a place even when they are no longer there.
Andy Goldsworthy
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One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.
Andy Goldsworthy
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When I’m working with materials it’s not just the leaf or the stone, it’s the processes that are behind them that are important. That’s what I’m trying to understand, not a single isolated object but nature as a whole.
Andy Goldsworthy
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I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.
Andy Goldsworthy
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The essence of drawing is the line exploring space.
Andy Goldsworthy
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Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.
Andy Goldsworthy
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I have worked with this red all over the world - in Japan, California, France, Britain, Australia - a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.
Andy Goldsworthy
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Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.
Andy Goldsworthy
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The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience.
Andy Goldsworthy
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Winter makes a bridge between one year and another and, in this case, one century and the next.
Andy Goldsworthy
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A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.
Andy Goldsworthy
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Snow provokes responses that reach right back to childhood.
Andy Goldsworthy
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The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.
Andy Goldsworthy
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Money is a very complicated problem. The history of money is very curious.
Carl Andre
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