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Complete control can be the death of a work.

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
Death
Work
Complete
Control

More quotes by Andy Goldsworthy

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The early firings contained many stones.
Andy Goldsworthy
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A stone is ingrained with geological and historical memories.
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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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 love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.
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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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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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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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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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
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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
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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 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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My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.
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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Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.
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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I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
Andy Goldsworthy
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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.
Andy Goldsworthy
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I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue.
Andy Goldsworthy