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We often forget that we are nature.

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
Nature
Forget
Often

More quotes by Andy Goldsworthy

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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.
Andy Goldsworthy
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When I’m working with materials it’s not just the leaf or the stone, it’s the processes that are behind them that are important. That’s what I’m trying to understand, not a single isolated object but nature as a whole.
Andy Goldsworthy
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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.
Andy Goldsworthy
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I'm dealing with the most important things there are: life and nature. If this doesn't work, if this doesn't sustain me, I can't go back to nature. I'm right there. There's nowhere to go, and that frightens me.
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
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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.
Andy Goldsworthy
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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.
Andy Goldsworthy
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We leave our presence in the pavement. We're walking over it, sitting on steps.
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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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.
Andy Goldsworthy
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Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.
Andy Goldsworthy
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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
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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
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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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There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.
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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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
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I have six acres in front of my own house, which I very rarely work on. Most of the work occurs on farmers' fields around me. And I like the discipline of working on other people's land.
Andy Goldsworthy
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I take the opportunity each day offers.
Andy Goldsworthy
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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.
Andy Goldsworthy