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

More quotes by Andy Goldsworthy

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If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.
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The British climate, although it is very wet, it is quite mild in winter. We don't get these severe - generally don't get severe winters.
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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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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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Art for me is a form of nourishment. I need the land. I need it.
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It's art that's taught me to think and to write.
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My work comes first, reasons for it follow.
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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.
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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.
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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.
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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.
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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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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.
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The things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.
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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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Ideas must be put to the test. That's why we make things otherwise they would be no more than ideas. There is often a huge difference between an idea and its realization. I've had what I thought were great ideas that just didn't work.
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Snow provokes responses that reach right back to childhood.
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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.
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It's frightening and unnerving to watch a stone melt.
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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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