Quote

I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful.

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
Necessarily
Repeated
Stones
Realised
Soon
Required
Amount
Scale
Small
Larger
Happened
Scales
Bigs
Expensive
Cannot
Heat
Wasteful

More quotes by 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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Complete control can be the death of a work.
Andy Goldsworthy
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My work comes first, reasons for it follow.
Andy Goldsworthy
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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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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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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.
Andy Goldsworthy
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Even in winter an isolated patch of snow has a special quality.
Andy Goldsworthy
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I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.
Andy Goldsworthy
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Photography is a way of putting distance between myself and the work which sometimes helps me to see more clearly what it is that I have made.
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
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Art for me is a form of nourishment. I need the land. I need it.
Andy Goldsworthy
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I just see myself as an object in the final image. I know I'm experiencing it when I'm there working on it. I'm there to be worked with, as anything else that I work with.
Andy Goldsworthy
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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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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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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.
Andy Goldsworthy
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Sometimes you need to stop doing something to really see it afresh.
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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There are occasions when I have moved boulders, but I'm reluctant to, especially ones that have been rooted in a place for many years.
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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The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.
Andy Goldsworthy