![]() Process and decay are implicit." Documentary films on Goldsworthy There is an intensity about a work at its peak that I hope is expressed in the image. According to Goldsworthy, "Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. Photography plays a crucial role in his art due to its often ephemeral and transient state. To create "Roof", Goldsworthy worked with his assistant and five British dry-stone wallers, who were used to make sure the structure could withstand time and nature. For his ephemeral works, Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials however, for his permanent sculptures like "Roof", "Stone River" and "Three Cairns", "Moonlit Path" ( Petworth, West Sussex, 2002) and "Chalk Stones" in the South Downs, near West Dean, West Sussex he has also employed the use of machine tools. My remit is to work with nature as a whole." Goldsworthy is generally considered the founder of modern rock balancing. But I have to: I can't edit the materials I work with. He has been quoted as saying, "I think it's incredibly brave to be working with flowers and leaves and petals. The materials used in Goldsworthy's art often include brightly coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. The smaller cracks were made with a hammer adding unpredictability to the work as he created it. His installation included a giant crack in the pavement that broke off into smaller cracks, and broken limestone, which could be used for benches. In 2003, Goldsworthy produced a commissioned work for the entry courtyard of San Francisco's de Young Museum called "Drawn Stone", which echoes San Francisco's frequent earthquakes and their effects. White Professor-At-Large in Sculpture at Cornell University 2000–20–2008. So I redrew the work, which was wonderful to be able to go back and revive a work that I had been made previously.In 1993, Goldsworthy received an honorary degree from the University of Bradford. I returned to the slate quarry two days after making the piece there and even though it had rained heavily, the outline of the work was still there. are impossible, but tried anyway and succeeded. There's been so many things that I've told myself that will not. It is important to take a chance on a work to see if it succeeds. It's beginning to dry now around the stones. I like the roughness, but it loses the detail. That's always the difficulty of making it on a very rough surface. So getting up off the slate is awkward, I don't want to reveal any of it. Picking the moment when to get up is always tricky, too. ![]() So what is causing the disappearance of one work is creating the other. It's quite nice laying alongside the work. I will do one of those - probably just here. So I lay down and the rain wets all around me.Īnd then I get up leaving a dry shadow where I've laid. ![]() In all the time that I've worked here, I've never yet managed to make a rain shadow, which is what I do when it rains. to balance it up with the solidity of the slate.Īnd hopefully something will emerge that where the drawing will appear to have more presence than the slate itself, so it sort of floats over the slate. I've decided to fill it in somewhat, I think to, um. Today, there's obviously a little bit of tension with the weather because this is a dry work, It’s a work made for dry slate, as it is now.Īt first, I didn't know whether I was just going to do a line. So it's not as if I've come here with a white crayon and made these lines. With the slate being dry, it has this wonderful capacity to be drawn on - slate against slate.Īnd I like that between these two things you can produce that.Īnd that the line is not just drawn on the slate. The slate is so much about layering, the way that it's formed.Īnd when you get a block of slate and slice it up to something, it's so extraordinary seeing this book of stone being revealed, and as you lift one piece off another, how you're looking back in time, really. ![]() I work directly with the land, working in materials I find in the landscape, whether it be Japan, the North Pole.īut it's the landscape around my home that's the most important to me, and it's that landscape to which I keep returning, and is the place that I can learn most about nature and my relationship with it. ![]()
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