The moment was captured in Rivers and Tides , a documentary film by Thomas Riedelsheimer that portrayed Goldsworthy at work and underscored the centrality of time to his art. Even those stone stacks and walls that he intends to last for a long time are conceived in a very different spirit from the bulldozing Land Art of the American West. An endearing humility complements his vast ambition. The struggle of agriculture, of getting nourishment from the earth, becomes part of the story of the boulder and of my work.
The modesty in his method is matched by a realism in his demands. He knows that nothing can or should last forever. Once a piece has been illuminated by the perfect light or been borne away by the serendipitous wave, he gratefully bids it a fond farewell.
His overriding interest though is practical - he wants to investigate what he describes as the "energy of making" inside of things, while seeing the energy and space around a material the effect of the weather for example as being as important as the energy and space within. As he puts it himself, "movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. As is often the case with Land art, the viewer is left wondering if the actual work is the short-lived sculpture or the photograph that documents it.
Painterly compositions utilizing nature's organic colors and forms, such as Red Leaf Patch , are one of Goldsworthy's trademarks. To create this bright spot, Goldsworthy describes how he found "one dark and one light leaf of the same size. I tore the dark leaf in two, spat underneath it and pressed it on to the light leaf: the result was what appeared to be a single, two-colored leaf. In this way, Goldsworthy relates to the Bauhaus artist Joseph Albers whose studies underscored the power of color in creating space.
Works such as Red Leaf Patch led some to criticize Goldsworthy for overly aestheticizing nature. In his own defense, he has argued: "But I have to work with flowers and leaves, because they are part of the land. Firstly, the work is ephemeral, eventually vanishing in nature.
Goldsworthy is specially interested in the concept of decay - it appears time and again in his works and in his writings. The leaves are only red for a season. They will inexorably turn black and rot, ultimately resulting in re-absorption into the soil. As Goldsworthy has stated, his art has made him aware of "how nature is in a state of change and how that change is the key to understanding.
I want my art to be sensitive and alert to changes in material, season and weather. Kosky in his assertion that "what is interesting is that for Goldsworthy nature does not specify the place of things but their movement, not their being but their being in time.
Goldsworthy's Hole , made inside the Serpentine Gallery in London, is a continuation of a commission from , in which he created another hole in the gallery's garden. This later Hole , unusual for Goldsworthy, takes a work of nature out of its solely pastoral setting, and brings it into the gallery setting - in a decidedly Robert Smithson fashion.
Artists have often used black holes to signify death, and specifically associations between death and art institutions are not uncommon. The perception of exhibition spaces as voids was part of an institutional critique trend that first inspired the generation before Goldsworthy to work outside. Regardless, whether inside or outdoors, the black hole has been a constant theme throughout Goldsworthy's career.
He sees black space as not merely the absence of light but rather a positive presence, a tangible substance in its own right. Goldsworthy has described how his concept of stability is brought into question when looking into a deep, dark hole. He describes how this encounter with blackness has made him aware of the earth's potent energies. He has also suggested that his last work, the one done before he dies will potentially be a hole.
In the artist's own words: "Looking into a black hole is like looking over a cliff's edge I've always been drawn to the black hole - I've been making them since and I keep on making them I can't stop making them, and I have the same urge to make holes as I do to look over a cliff edge. Icicle Star is of impressive delicacy, which required a high level of dexterity and skill to create.
In an attempt to avoid high temperatures and sunlight, the work was made during the early morning hours in the dark. Goldsworthy used his saliva and bare fingers to meticulously and patiently attach the icicles. Because of the unpredictability of nature and the importance of ideal conditions, it often took him many minutes of holding each piece of ice for them to glue to each other and the process proved extremely painful at times. The hardship required of the artist in having to withstand harsh conditions to produce works such as these turns them into endurance pieces alongside their intended commentary on the relationship between human hands and the machinations of the creator - a common theme in Goldsworthy's work.
Users may search works by date, form, material, and place, and view quality images of the installations, which only existed for a brief moment in time. To learn more about Andy Goldsworthy and his incredible work, check out Rivers and Tides , a moving documentary that paints a portrait of the artist and his work. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.
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