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The early firings contained many stones.

Andy Goldsworthy

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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
Early
Artist
Many
Firing
Contained
Stones

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Confrontation is something that I accept as part of the project though not its purpose.
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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.
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I'm not a performer, in that I don't like the public, but I work in that respect.
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People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.
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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.
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I knew the tree when it grew, and the tree is now gone. The farmers cut it up, and it's become firewood. And there's this tremendous sense of absence and shock and violence attendant to that collapsing tree.
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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.
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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.
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You must have something new in a landscape as well as something old, something that's dying and something that's being born.
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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.
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Art for me is a form of nourishment. I need the land. I need it.
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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.
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As you grow older you realize that art has an enormous effect. It's frightening sometimes to think of the effect that we can have.
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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.
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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.
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I did tests on small stones before collecting and committing myself to the larger ones.
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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.
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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.
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I just see myself as an object in the final image. I know I'm experiencing it when I'm there working on it. I'm there to be worked with, as anything else that I work with.
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