Quote

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

Andy Goldsworthy

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TAGS & TOPICS

Andy Goldsworthy
Age: 68
Born: 1956
Born: July 25
Artist
Environmental Artist
Environmentalist
Land Artist
Photographer
Sculptor
County Palatine of Chester
Andi Gōruzuwājī
Andrew Goldsworthy
Look
Holes
Looks
Appearance
Introduce
Trying
Surface
Underlying
Way
Window
Introducing
Things
Lies
Inevitably
Getting
Hole
Lying
Beneath
Art
Tension

More quotes by 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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It's art that's taught me to think and to write.
Andy Goldsworthy
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If I had to describe my work in one word, that word would be time.
Andy Goldsworthy
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My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.
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 take the opportunity each day offers.
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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I think I have been fashioned by the fickle weather of Britain that it is - it's forever changing. There's no kind of constant sun or dry weather or freezing weather, and I'm always having to change and adapt to that.
Andy Goldsworthy
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It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
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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I have to understand the nature of change. And I cannot just work with stone or the more permanent materials. I need to work with leaves and ice and snow and mud and clay and water and the rising tide and the wind and all these.
Andy Goldsworthy
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If you've ever come across a tree that you've lived with for many years and then one day it's blown over, there's incredible shock and violence about that.
Andy Goldsworthy
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We often forget that we are nature.
Andy Goldsworthy
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Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.
Andy Goldsworthy
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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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Generally in New York, people just walk over you with no problem about that. Other countries, people want to resuscitate you, like, after a bit.
Andy Goldsworthy
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Fire is the origin of stone.By working the stone with heat, I am returning it to its source.
Andy Goldsworthy
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Art for me is a form of nourishment. I need the land. I need it.
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.
Andy Goldsworthy
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I've laid down in dried up streambeds, leaving a shadow. And then, five minutes later, it's flash flooded, and where I once laid is now running water, which would've washed me away, you know? There's that power and danger often in places that look so calm and pastoral to begin with.
Andy Goldsworthy