Quote

I see my work plagiarized in gardening programmes and decorating programmes and car adverts, and I suppose I have to accept that's just the way art gets assimilated into culture.

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
Accept
Assimilated
Gets
Adverts
Accepting
Plagiarism
Culture
Decorating
Art
Programmes
Work
Gardening
Way
Suppose
Car

More quotes by Andy Goldsworthy

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Sometimes you need to stop doing something to really see it afresh.
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Snow provokes responses that reach right back to childhood.
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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.
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Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.
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If you lay in the rain, every rain shower, storm, whatever, is different. Every surface is different.
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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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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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I'm very fortunate to be able to do what I do and live the way I do.
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If you've ever come across a tree that you've lived with for many years and then one day it's blown over, there's incredible shock and violence about that.
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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.
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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.
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At its most successful, my 'touch' looks into the heart of nature most days I don't even get close. These things are all part of a transient process that I cannot understand unless my touch is also transient - only in this way can the cycle remain unbroken and the process be complete.
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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My work comes first, reasons for it follow.
Andy Goldsworthy
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The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
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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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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I take the opportunity each day offers.
Andy Goldsworthy
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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.
Andy Goldsworthy
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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.
Andy Goldsworthy