A Quote 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.
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big oil-fired kiln that they had. He was still sitting what we call a kiln watch at that time, and he wondered if we would like to sit the watch with him and talk. So naturally this was our last opportunity to talk with him, so we said yes. We didn't realize Bernard's kiln watch was from 1:00 in the morning until 4:00 AM.
I didn't know adults could be changed. I thought they were finished pieces, baked through and kiln dried.
Baghdad is altogether built of chrome-yellow kiln-dried bricks.
On a charcoal kiln a vine keeps climbing, while being burned to death.
Since I started my career very early, I have gone through the rigmarole of experiencing successes and failures.
Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.
I went to see Dad in hospital after he had gone through one particularly grueling operation. I walked into the room where he was recovering, and he was sitting up in a chair, wearing his shirt and tie. That was after eight hours of surgery. I found that so moving.
I love driving through Western Massachusetts, out through the Berkshires, when the road is empty and it's a nice day. I don't like driving home on Memorial Drive at 5:45 or 6:45 at night when it's crowded and stressful. I think that's true of most people, and the goal of automated driving is to take the stressful part of driving out of the task.
I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don’t know why they’d decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.
We could make our own pots on the weekends and in the evenings, and we used to do that, and these would be fired in the big kiln, along with all the standard ware that we were producing, but this wasn't quite what we had expected when we read The Potters Book.
My sister and I may have been crafted of the same genetic clay, baked in the same uterine kiln, but we were disparate species, doomed never to love each other except blindly.
I've kind of gone from TV series to TV series or project to project, and I've wanted to get back in a rehearsal room. I feel like there's that exploration process, in a way, that you get in phases on jobs but I do wish I had that time [at school].
Sitting on the floor, I'd replay the past in my head. Funny, that's all I did, day after day after day for half a year, and I never tired of it. What I'd been through seemed so vast, with so many facets. Vast, but real, very real, which was why the experience persisted in towering before me, like a monument lit up at night. And the thing was, it was a monument to me.
You know what it's like to feel anxious - it's horrible feeling anxious. It's stressful having that feeling, having butterflies in your stomach, even for a day, and you don't sleep at night.
If you lived the doubles, as I did, which was very stressful, you are sitting down in a chair experiencing a match without being able to hold a racquet in your hands.
Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.
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