Quote

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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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
Around
Six
Work
Fronts
Like
Front
People
Discipline
Fields
Acres
Land
Occurs
Working
Farmers
House
Rarely

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Everything has the energy of its making inside it.
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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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My work comes first, reasons for it follow.
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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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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.
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Design implies a sense of mapping something out and then you follow the plan.
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A stone is ingrained with geological and historical memories.
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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.
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The essence of drawing is the line exploring space.
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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.
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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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One of the beauties of art is that it reflects an artist's entire life. What I've learned over the past 30 years is really beginning to inform what I make. I hope that process continues until I die.
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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.
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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.
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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.
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I can't edit the materials I work with. My remit is to work with nature as a whole. I find nature as a whole disturbing. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
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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.
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Sometimes you need to stop doing something to really see it afresh.
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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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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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