Quote

I think I have been fashioned by the fickle weather of Britain that it is - it's forever changing. There's no kind of constant sun or dry weather or freezing weather, and I'm always having to change and adapt to that.

Andy Goldsworthy

Change background

T
T
T

Change font

TAGS & TOPICS

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
Kind
Dry
Always
Britain
Think
Weather
Thinking
Changing
Sun
Freezing
Constant
Fickle
Forever
Adapt
Change
Fashioned

More quotes by Andy Goldsworthy

Image
Generally in New York, people just walk over you with no problem about that. Other countries, people want to resuscitate you, like, after a bit.
Andy Goldsworthy
Image
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.
Andy Goldsworthy
Image
I'm not a performer, in that I don't like the public, but I work in that respect.
Andy Goldsworthy
Image
The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
Andy Goldsworthy
Image
I'm very fortunate to be able to do what I do and live the way I do.
Andy Goldsworthy
Image
When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.
Andy Goldsworthy
Image
The photography is not the aim of the work the articulation of the work through photography is another way of understanding what's going on and what's happening outside.
Andy Goldsworthy
Image
Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.
Andy Goldsworthy
Image
There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.
Andy Goldsworthy
Image
I did tests on small stones before collecting and committing myself to the larger ones.
Andy Goldsworthy
Image
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.
Andy Goldsworthy
Image
The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.
Andy Goldsworthy
Image
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
Image
I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
Andy Goldsworthy
Image
I can't edit the materials I work with. My remit is to work with nature as a whole.
Andy Goldsworthy
Image
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.
Andy Goldsworthy
Image
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
Image
The early firings contained many stones.
Andy Goldsworthy
Image
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
Image
Everything has the energy of its making inside it.
Andy Goldsworthy