A Quote by Andy Goldsworthy
I can't edit the materials I work with. My remit is to work with nature as a whole.
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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 – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.
Movement, change, light, growth and decay are the lifeblood of nature, the energies that I I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.
I have to understand the nature of change. And I cannot just work with stone or the more permanent materials. I need to work with leaves and ice and snow and mud and clay and water and the rising tide and the wind and all these.
We've been fighting from the beginning for organic architecture. That is, architecture where the whole is to the part as the part is to the whole, and where the nature of materials, the nature of the purpose, the nature of the entire performance becomes a necessity-architecture of democracy.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven together - that they are recognisable and from the world.
I'm always ready for TV. I don't have to edit my jokes - when you work clean, you can work anywhere.
The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.
I just think that if you use materials that have an ability to communicate directly, you open up a channel and you can work through that. So you are using the power of materials.
I write a chapter, then edit it and edit it and edit it and edit it. I don't think we mine creativity from within. It's bestowed from on high, from God.
It's the ultimate identity theft when you start messing with somebody's work. Thinking that you could edit the work, or mix it differently, or re-EQ it, or make claims about it that aren't true.
It is only by loving nature, and going to her for everything, that good work can be done; but then we must look to her for the materials for pictures, not for pictures themselves. It is nature filtered through the mind and fingers of the artist that produces art, and the quality of the pictures depends on the fineness of that filter.
I really get my best work done in the morning, so if I have to edit speeches or comments, that all happens before I get to work.
The chemists work with inaccurate and poor measuring services, but they employ very good materials. The physicists, on the other hand, use excellent methods and accurate instruments, but they apply these to very inferior materials. The physical chemists combine both these characteristics in that they apply imprecise methods to impure materials.
A work of art is a work of order, and if the artist is to put the stamp of his own mind on his work, he must arrange, modify, and dispose of his materials so that they may appear in a more agreeable and beautiful manner than they would have assumed without his interference.
[...] allowing only ordinary ability and opportunity, we may explain success mainly by one word and that word is WORK! WORK!! WORK!!! WORK!!!! Not transient and fitful effort, but patient, enduring, honest, unremitting and indefatigable work into which the whole heart is put[...] There is no royal road to perfection.
The species and the genus are always the work of nature [i.e. specially created]; the variety mostly that of circumstance; the class and the order are the work of nature and art.
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