Quote

Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.

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
Four
Firing
Three
React
Enough
Differently
Trying
Stones
Havens
Haven
Balance
Achieve
Progressed

More quotes by Andy Goldsworthy

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The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.
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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.
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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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I take the opportunity each day offers.
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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.
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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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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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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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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.
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It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
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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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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
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Winter makes a bridge between one year and another and, in this case, one century and the next.
Andy Goldsworthy
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Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.
Andy Goldsworthy
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In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.
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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
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The essence of drawing is the line exploring space.
Andy Goldsworthy
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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.
Andy Goldsworthy
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The reason why the stone is red is its iron content, which is also why our blood is red.
Andy Goldsworthy
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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.
Andy Goldsworthy