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.
Andy GoldsworthyRead
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 β difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
Interpretation
This quote emphasizes the coexistence of beauty and harshness in nature.
In this quote, Andy Goldsworthy reflects on the duality of nature, acknowledging that while it possesses stunning beauty, it is also a realm filled with decay and brutality. He emphasizes that as an artist, he must work within the parameters set by nature, confronting its raw and sometimes disturbing realities while still appreciating its overall essence.
In practice
A speaker at a conservation workshop might quote this to illustrate the complexities of environmental work.
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.
Time gives growth, it gives continuity and it gives change. And in the case of some sculptures, time gives a patina to them.
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work.
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.
There is life in a stone. Any stone that sits in a field or lies on a beach takes on the memory of that place. You can feel that stones have witnessed so many things.
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.
The land is like poetry: it is inexplicably coherent, it is transcendent in its meaning, and it has the power to elevate a consideration of human life.
The earth is rude, silent, incomprehensible at first; Be not discouraged - keep on - there are divine things, well envelop'd; I swear to you there are divine things more beautiful than words can tell.
The mainstream audience has a certain picture of what climbing is all about: man conquering mountain. But you can't conquer a mountain, though it may conquer you.
When I was 7 and went to the zoo with my second-grade class, I saw chimpanzee eyes for the first time - the eyes of an unhappy animal, all alone, locked in a bare, concrete-floored, iron-barred cage in one of the nastier, old-fashioned zoos. I remember looking at the chimp, then looking away.
One thing is made of another, and nature allows no new creation except at the price of death.
In the world at large, people are rewarded or punished in ways that are often utterly random. In the garden, cause and effect, labor and reward, are re-coupled. Gardening makes sense in a senseless world. By extension, then, the more gardens in the world, the more justice, the more sense is created.
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