Andy Goldsworthy Quotes - 9quotes.com

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The first stone was just tried in the spirit of experimentation. The opening of the stone was far more interesting than the drawing that I had done on it.
Written by Andy Goldsworthy
The early firings contained many stones.
Written by Andy Goldsworthy
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.
Written by Andy Goldsworthy
Fire is the origin of stone. By working the stone with heat, I am returning it to its source.
Written by Andy Goldsworthy
The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.
Written by Andy Goldsworthy
I did tests on small stones before collecting and committing myself to the larger ones.
Written by Andy Goldsworthy
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.
Written by Andy Goldsworthy
Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures.
Written by Andy Goldsworthy
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.
Written by Andy Goldsworthy
Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.
Written by Andy Goldsworthy
Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.
Written by Andy Goldsworthy
It's frightening and unnerving to watch a stone melt.
Written by Andy Goldsworthy
As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.
Written by Andy Goldsworthy
A stone is ingrained with geological and historical memories.
Written by Andy Goldsworthy
I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
Written by Andy Goldsworthy
Snow provokes responses that reach right back to childhood.
Written by Andy Goldsworthy
A snowball is simple, direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many levels.
Written by Andy Goldsworthy
Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There's something very powerful about finding snow in summer.
Written by Andy Goldsworthy
Even in winter an isolated patch of snow has a special quality.
Written by Andy Goldsworthy
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.
Written by Andy Goldsworthy
The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
Written by Andy Goldsworthy
Confrontation is something that I accept as part of the project though not its purpose.
Written by Andy Goldsworthy
People also leave presence in a place even when they are no longer there.
Written by Andy Goldsworthy
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.
Written by Andy Goldsworthy
The reason why the stone is red is its iron content, which is also why our blood is red.
Written by Andy Goldsworthy
People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.
Written by Andy Goldsworthy
My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.
Written by Andy Goldsworthy
I enjoy working in a quiet and subversive way.
Written by Andy Goldsworthy
I have walked around the same streets so many times, and then seen a place that had been hidden to me. I now know the sites in a way that makes me think I could have made better use of the connections between place and snowball.
Written by Andy Goldsworthy
Not being able to touch is sometimes as interesting as being able to touch.
Written by Andy Goldsworthy

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