Andy Goldsworthy
Andy Goldsworthy
Andy Goldsworthy, OBEis a British sculptor, photographer and environmentalist producing site-specific sculpture and land art situated in natural and urban settings. He lives and works in Scotland...
NationalityBritish
ProfessionSculptor
Date of Birth26 July 1956
acceptable breaking fact familiar hammer response stone violent
Breaking stone with a hammer is a familiar and acceptable way of working the material, but is in fact a more violent response than firing.
connects energy life red round running taught vein worked
I have worked with this red all over the world-in Japan, California, France, Britain, Australia-a vein running round the earth. It has taught me about the flow, energy and life that connects one place with another.
attempt contain growth hopeless melt released seen
Some snowballs contain seeds, which will be released in the melt in what could be seen as a hopeless attempt at growth in a built-up environment.
connections forget lost
We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature, we’ve lost our connection to ourselves.
people
People also leave presence in a place even when they are no longer there.
land weather understanding
The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.
way able fortunate
I'm very fortunate to be able to do what I do and live the way I do.
cities people pavement
People are the nature of the city, and you can feel it in the pavement.
beautiful dangerous difficult
Nature, for me is raw and dangerous and difficult and beautiful and unnerving.
rain independent rocks
Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.
eye hands important
In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.
ideas differences would-be
Ideas must be put to the test. That's why we make things; otherwise they would be no more than ideas. There is often a huge difference between an idea and its realization. I've had what I thought were great ideas that just didn't work.
pavement steps sitting
We leave our presence in the pavement. We're walking over it, sitting on steps.
mean thinking artist
I'm an artist living in a small, Scottish village. So one would expect to be treated with some sort of caution. And the village and the farmers have shown enormous tolerance of me and interest in what I do. I mean, they don't necessarily understand what I'm doing all the time. But they, you know, I think they respect what I do and that there is a connection between what they do with the land and what I do, you know, that we're both dependent on weather and respond to that.