How Andy Goldsworthy Expresses His Feelings through His Works
Andy Goldsworthy was born in Cheshire in 1956 and was brought up in
Yorkshire. He studied at Bradford College of Art (1974-75) and Preston
After leaving college Goldsworthy lived in Yorkshire, Lancashire and
Cumbria. He moved over the border to Langholm, Dumfriesshire in 1985
and to Penpont one year later. This gradual drift northwards was due
to a way of life over which he did not have complete control. However,
contributing factors were opportunities and desires to work in these
areas and reasons of economy.
Throughout his career most of Goldsworthy's work has been made in the
open air, in places as diverse as the Yorkshire Dales, the Lake
District, Grize Fiord in the Northern Territories of Canada, the North
Pole, Japan, the Australian outback, St Louis, Missouri and
Dumfriesshire. He collaborates with nature to make his creations. The
materials he uses are those you find in the remote locations he
visits: twigs, leaves, stones, snow and ice, reeds and thorns. Most
works are ephemeral (don't last/live long), but demonstrate in their
short life, Goldsworthy's extraordinary sense of play and of place.
The works are recorded as photographs. Book publication is an
important aspect of Andy Goldsworthy's work: showing all aspects of
the production of a given work, each publication is a work of art in
its own right.
Some recent sculpture has a more permanent nature, being made in stone
and placed in locations far from its point of origin. The series of
chalk Arches made at Sculpture at Goodwood in 1995 are semi-permanent,
given the fragility of the material, and are now sited indoors at
Goldsworthy's studio in Dumfriesshire, to extend their life.
Goldsworthy regards all his creations as temporary. He photographs
each piece once, right after he makes it. His goal is to understand
nature by directly participating in nature as intimately as he can.
Quotes from Andy Goldsworthy:
I enjoy the freedom of just using my hands and "found" tools-a sharp
stone, the quill of a feather, thorns. I take the opportunities each
day offers: if it is snowing, I work with snow, at leaf-fall it will
be with leaves; a blown-over tree becomes a source of twigs and
branches. I stop at a place or pick up a material because I feel that
there is something to be discovered. Here is where I can learn.
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...