Quote

The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.

Andy Goldsworthy

Change background

T
T
T

Change font

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
Simply
Torn
Quality
Qualities
Stone
Artist
Skin
Recognisable
Part
Skins
Molten
Much
Stones
Hardened
Stronger
Liquid
Mass
Remained

More quotes by Andy Goldsworthy

Image
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
Image
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
Image
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
Image
Design implies a sense of mapping something out and then you follow the plan.
Andy Goldsworthy
Image
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
Image
A stone is ingrained with geological and historical memories.
Andy Goldsworthy
Image
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
Image
It's frightening and unnerving to watch a stone melt.
Andy Goldsworthy
Image
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
Image
As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.
Andy Goldsworthy
Image
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
Image
The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
Andy Goldsworthy
Image
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
Image
People also leave presence in a place even when they are no longer there.
Andy Goldsworthy
Image
Confrontation is something that I accept as part of the project though not its purpose.
Andy Goldsworthy
Image
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.
Andy Goldsworthy
Image
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
Image
Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.
Andy Goldsworthy
Image
I think that any sculpture is a response to its environment. It can be brought to life or put to sleep by the environment.
Andy Goldsworthy
Image
Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.
Andy Goldsworthy