Sunday, March 23, 2008

Goldsworthy - Rock of Ages...and eggs.




Andy Goldsworthy


"Movement, change, light, growth and decay are the lifeblood of nature, the energies that 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."

----Andy Goldsworthy


Andy Goldsworthy, whose work is subject of the documentary “Rivers and Tides”, by Thomas Riedelsheimer, is a British sculptor, photographer and environmentalist living in Scotland. He produces site-specific sculpture and land art situated in natural and urban settings and involving the use of natural and found objects to create both temporary and permanent sculptures which draw out the character of their environment.




At first glance, some of his art appears simple, even childlike. A wet river stone covered with bright yellow leaves…. a block of brown mud, dry and cracked. Red sand tossed into the wind. However, these basic forms have evolved over the course of his career, taking larger risks and achieving greater depths of complexity, often at the very edge of failure.




His themes are movement and change, energy and light, growth and decay, the waltz of the seasons and our human role therein.




"Whenever possible," he says, "I make a work every day. Each work joins the next in a line that defines the passage of my life, marking and accounting for my time. Each piece is individual, but I also see the line combined as a single work."






Many of his efforts are intended only to last a short while -- for example, icicles frozen together at night to melt in the morning sun, or towers of beach stones balanced atop each other and left for the ocean waves to consume.





"I prefer works that are fashioned by the compromises forced upon me by nature," he says, "whether it be an incoming tide, the end of a day, thawing snow, shriveling leaves, or the deadline of my own lifetime." He captures these daily ephemeral works on film, in a collection whose numbers of arresting images now run into the tens of thousands."


The materials used in Goldsworthy's art often include brightly-colored flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns.




Goldsworthy states, "I think it's incredibly brave to be working flowers and leaves and petals. But I have to: I can't edit the materials I work with. My remit is to work with nature as a whole."





Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials; however, for his permanent sculptures, he has also employed the use of machine tools.


He says “I haven’t simply made the piece to be destroyed by the sea. It is given to the sea as a gift. The sea makes more of the piece than I ever could.”

He’s right, too. Driftwood carried out by the sea stays somewhat intact as it floats away, still art, but changed by nature. He makes long chains of leaves (pinned together by thorns) and lets the currents in a creek pull them downstream like a Chinese paper dragon, adding motion to his sculpture. “It doesn’t feel at all like destruction,” he says.





HERE is an excerpt from “Rivers and Tides”



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For those of you who are celebrating Easter today, Happy Easter!



Modern egg master Franc Grom creates eggs which give Ferberge a run for his money. Grom uses a small electric drill to create approximately 2,500 to 3,500 holes in each eggshell. Inspired by traditional Slovenian designs, he has been known to pierce a shell as many as 17,000 times. They’re so fragile and beautiful. Imagine the patience!










1 comment:

freebird said...

Those are just fantastic. I'd be afraid to pick one up. I imagine they are stronger than they look but still, the time and effort involved in each egg would make me too nervous to do anything but get my eyes as close as possible to see the intricacies of each piece.

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