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

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

More quotes by Andy Goldsworthy

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Not being able to touch is sometimes as interesting as being able to touch.
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I love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.
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It's frightening and unnerving to watch a stone melt.
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My work comes first, reasons for it follow.
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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.
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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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Even in winter an isolated patch of snow has a special quality.
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Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.
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I enjoy working in a quiet and subversive way.
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If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.
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I'm very fortunate to be able to do what I do and live the way I do.
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We leave our presence in the pavement. We're walking over it, sitting on steps.
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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.
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The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.
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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.
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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 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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We often forget that we are nature.
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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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Understanding the materials I work with... gives me a deeper understanding of my place. And it's helped me make sense of the changes that are happening to me as I grow older.
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