A Quote by Andy Goldsworthy
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
Related Quotes
If we fully trust that God is as beautiful as he reveals himself to be on the cross, we must regard the ugly surface appearance of these portraits to reflect the sinful way his people imagined God, not the way God actually is. But when we by faith look through the ugly surface of these portraits, we can see God stooping out of love to meet his people where they are at and to bear their sin, which is why in Scripture he takes on an ugly surface appearance that reflects the ugliness of their sin.
There are two sorts of curiosity - the momentary and the permanent. The momentary is concerned with the odd appearance on the surface of things. The permanent is attracted by the amazing and consecutive life that flows on beneath the surface of things.
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.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
The ocean is interacting with the surface. There is a possible biosphere that extends from way below the surface to just above the crust.
Genres are like the surface of the ocean. There are waves and things moving, but you don't instantly see all the reefs and ecosystems that's happening beneath the surface.
Beneath their surface differences, there are a lot of deep, underlying differences.
Now imagine that you are going beneath the surface of the ocean. Below the surface all is calm, silent, and serene. As you visualize yourself going deeper and deeper into the depths of the ocean, feel that a profound peace is entering you.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex and vital.
We have the tendency to judge others by their surface appearance, and to find only their negative qualities. But if we search beneath the surface we discover that a myriad of strains mix together to create a particular person's nature. The faults we perceive are likely to be the effect of circumstances, the psychological response to trauma, abuse, rejection, heartbreak, insecurity, pain, confusion, or disease.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.
Usually when I draw, I try to be in a contemplative mood. I try to keep my mind as empty, vacant and tranquil as possible. The outer mind is like the surface of the sea. On the surface, the sea is full of waves and surges; it is all restlessness. But when we dive deep below, the same sea is all peace, calmness and quiet, and there we find the source of creativity.
It's not unusual to find big political shifts that take place beneath the surface before they're visible above the surface.
Surface is a modernist concept. What surface does is to encourage one to see the painting as object rather than as a window on the world.
Happiness, I think, lies on the surface... when one plunges under the surface all the buoyant things disappear, and the farther down one gets the more cold and dark it seems: and the more oppressive space feels.
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