Andy Goldsworthy Essay Research Paper Andy GoldsworthyWhere

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Andy Goldsworthy Essay, Research Paper Andy Goldsworthy Where does art-making begin and end? Andy Goldsworthy, a 40-year-old British artist who uses nature as a partner, raises this question with his works of amazing art; some of them are temporary, some meant to last. Goldsworthy creates works of extraordinary beauty using natural materials, stones, wood, water, which then disintegrate naturally or are deliberately dismantled. Andy Goldsworthy, a non-traditional sculptor, was born in Cheshire, England in 1956 and raised in Yorkshire. Currently, Goldsworthy resides at Penpont, Dumfriesshire, Scotland. While attending Harrogate High School, as a teenager, photographer and sculptor, he worked as a hired hand on farms outside Leeds, England. It was then that he began to explore

the patterns of nature by arranging its building blocks in unexpected ways. These farm experiences provided him with direct encounters and knowledge related to working the land. After high school, Goldsworthy attended Bradford College of Art. Later, at Preston College in Lancaster, England, Goldsworthy took additional courses in fine art and began to develop his own style. Soon, the outdoors became his studio and he discovered he was happier living on a farm than in a college studio. His view of nature opposes altering the land. Goldsworthy says, “I have become 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. Often I can only follow a train of thought

while a particular weather condition persists. When a change comes, the idea must alter or it will, and often does, fail. I am sometimes left stranded by a change in the weather with half-understood feelings that have to travel with me until conditions are right for them to reappear. During one persistently cold period that I have had to work with in Britain, I was able to pursue ideas only hinted at in previous winters. It is difficult to predict where good ice and icicles will form. When the cold arrived, that is where I went–disappointed at first because it was too sheltered by overhanging trees. One small pool was barely frozen. I used this precious ice–the work was not good, but it gave me a feel for the place” (Bourdon 4). Goldsworthy is known for working in

unfavorable weather conditions. During the late winter of 1988-89, Goldsworthy created 18 large snowballs. Within five days, only the debris collected in the making of the snowballs remained scattered on the floor in pools of water. Another example of Goldsworthy’s documentation of ephemeral change through art can be seen in his photographs of the Ballet Atlantique. The Ballet Atlantique was a performance piece about the significance of change and the fleeting characteristics of time. Goldsworthy took a series of pictures recording the passage of sticks thrown into the air. Goldsworthy has also worked on large-scale permanent projects. He stated “My approach to larger, more permanent work is longer-term. There is a process of familiarization with sight through drawings that

explore the location and the space. This is the only time I use drawing to work through ideas; for me it represents a change in approach. I often live with a site at the back of my mind for months, sometimes years–a target for energies and ideas. By working large, I am not trying to dominate nature. If people feel small in relation to a work, they should not assume that there is an intention to make nature itself small. If anything, I am giving nature a more powerful presence in the mass of earth, stone, wood that I use. I do not change the underlying processes of growth, and nature’s grip is tightened on the site that I have worked” (museum 1). When looking at Goldsworthy’s work, it is easy to question the role photography plays in its documentation. The camera is