Andy Goldsworthy

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Immediately, Goldsworthy’s work has relativity because of his tendency to work in circular forms – something I have always found myself doing. He describes his site specific pieces as transient – permanency is irrelevant: he aims to collaborate with nature and understand it by working intimately with it.

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“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 touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.”

I really love how Goldsworthy recognizes even the aspects of the natural world that aren’t apparent whilst he is working there, for example the weather. I feel as though he feels the weather, for example, has a direct effect on him because it does so to his work, as if he is within his work with the ongoing energy that he speaks of. I also love Goldsworthys deep acknowledgement of the continuous existence and growth/decay of his artwork once it is no longer an unequivocal part of him or his possession. His art is nature, and he displays how important that is by having no humanistic power over it.

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I have taken a camera into the woods and used the inspiration I’ve had from studying Goldsworthy. I will build a body of corresponding photographs and post them when I feel that I have felt the understanding that Goldsworthy has of nature, because I think by doing so I will be able to feel the generosity and compassion of his ideas and attitudes towards nature, and therefore contribute massively to depicting the complexed interrelationship of man and nature.

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