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ANDY GOLDSWORTHY

GOLDSWORTHY 5

“TIME”

[Goldsworthy, A. (2000). Time. London: Thames & Hudson.]

TIME

CHANGE

PLACE

  • “Each work joins the next in a line that defines the passage of my life, marking and accounting for my time and creating a momentum which gives me a strong sense of anticipation for the future.” – page 7
    • repetition of the same object/subject creates movement
      • shows the progression of time
      • the process of learning
      • leaves traces of the past, present and anticipates the future
      • a series is created, which when put together can be interpreted into a moving image
      • MOMENTUM – the quantity of motion of a moving body – mass x velocity
  • “The moment of my working a material and of my being there was bound up with what had gone before.”
    • essentially meaning that our actions are influenced and dependent on the past?
    • when using a material like clay what happens before the end result becomes an essential part of the formation process – we need to inform our present with the past information
  • “I need to make works that anticipate, but do not attempt to predict or control, the future. In order to understand time, I must work with the past, present and future.”
    • we need to have a great awareness of the past, present and future when creating – be conscious of the work of the three simultaneously at all times of our lives
  • TIME and CHANGE was connected to place.”
    • allowing the material to undergo real life change being impacted by time unaffected by human action – trying to speed up the process etc.
  • “Real change is best understood by staying in the place
    • through staying in that one place, we observe and we learn so much about that one place, through patience and time
    • allowing ourselves to observe one place – seeing the impact of time – limiting the input/the attention we pay to things so that we begin to notice more things in one place – limiting our perception of information can actually expand other fields – a powerful mindfulnes excercise as well – were we take in more information

GOLDSWORTHY 2

  • “In many ways these places belong to my past, but I still feel a CONNECTION and a PRESENCE” – page 19
    • “Perhaps this is what the Clougha sculpture is about: the SPACE and MEMORY that we leave by our absence. The chamber will collect and become rich with memories of those who stand in it.”
      • the participant/observer is free to physically experience his hollow sculpture, their presence in it, leaves a trace in the time of the sculpture – they become a memory within that space
      • “SPACE and MEMORY that we leave by our absence”
  • the artist has rich associations with the places of his past (in Lancashire)
  • there is a sense of touch
    • personality of the artist
    • evidence of their impact on the surface in time
  • JAMES HUTTON
    • “stone is in a state of continuous movement and change”
    • changes occurring in earth
    • evidence is found in its structure and texture

GOLDSWORTHY 6

“Andy Goldsworthy’s Ephemeral Works: Artwork that is a testament to passing time”

[https://www.independent.co.uk/arts-entertainment/art/features/andy-goldsworthys-ephemeral-works-artwork-that-is-a-testament-to-passing-time-a6694826.html]

  • his works made entirely from natural elements
  • “all eventually decay, melt or disintegrate”
  • “highlight that most things in life do not last; we can merely enjoy them for a moment before they fade away”

GOLDSWORTHY 1

“Q&A with Andy Goldsworthy” [http://content.time.com/time/arts/article/0,8599,1610464,00.html]

  • [referring to his childhood and being raised up on a farm] “It’s a very sculptural activity. Not just dry stone walls but stacking bales — big minimalist sculptures, beautiful and enormous. Plowing a field is drawing lines on the land, painting the fields — it’s incredibly visual.”
  • “When you’re a farm kid you see death all the time […] When you see spring lambs hopping around the fields and then go round the back of the farm, there’s a pile of dead lambs every year”
    • “Dogs attacking sheep, raw brutal experiences and they’ve always remained in what I do
      • his upbringing seems to have heavily impacted his way of thinking and working
      • experiencing so much death and being normalised to it
      • thinking about the concept of death from a very young age
      • death is hence really seen as something inevitable
      • perhaps when he began producing work he had an idea of conveying this passage of time because of his previous experience
      • to further allow him to understand it as well as perhaps share his gained knowledge?
      • to explore the topic further?
      • allowed him to observe the starking difference between rural and urban areas? – between natural landscapes and man-made buildings/landscapes
      • conveying this passage and inevitability of time allow him to simultaneously convey the rawness and reality – essence of time – rawness of time – brutality of time

GOLDSWORTHY 3
A Frost Shadow – a great example of his real-time recording of time – it clearly involves great patience – here he would have been awaiting the morning sun as it rose up and slowly melted the morning frost

“Intertwined Through Time: Andy Goldsworthy and His Masterpieces”

[https://www.kon.org/urc/v9/Interconnected-Through-Art/binkly.pdf]

  • [ABSTRACT] “is able to observe the effects of time in nature”
  • [ABSTRACT] “Time and the notion of being temporary are aspects of life that the environment and every human has in common”
  • [ABSTRACT] “Time links all life; Goldsworthy’s ephemeral sculptures help reinforce the importance of understanding the reality of birth, life , death and rebirth”
    • although my workings with time limit themselves to memory and perhaps simply the aspect of living, and although I have considered loss as an element of life I haven’t really spoken about the beginning nor its end
    • but I think understanding life and time in that matter is also very important because this notion can be applied to every matter in the natural world
    • it can therefore be applied to memory – seeing memory as a living object with a life of its own, that is susceptible to change and is susceptible to a final ending – memories should be taken care of but also allowed to have their own way?
    • is there a certain method of observing the formation and deterioration of memories?
    • when presenting memories I could simply refer to them in the same way as I would to any living being
  • “The environment is connected to us, and we are connected to it.”
    • “Time and the notion of being temporary are aspects of life that the environment and every human have in common.”
  • “he realised that […] he was instead “drawing on the landscape itself””
  • “Goldsworthy’s art is influenced by the changing weather and seasons.”
  • “”For me, looking, touching, material, place, and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and seasons.””
    • being very PRESENT in the work – perhaps being equivalent to being present in the real world – by observing the natural workings of the ‘real’/natural world we can slowly come to understand our own lives – and the workings of nature in our lives – workings of natural phenomena – like time – not the man-made notion of time but instead the PROCESSES and ORDERED workings of the natural world – a gravity that gives life to all things – pulls things to life – pulls things in relation to one another
  • “Goldsworthy seeks the “energy that is running through, flowing through the landscape […] aiming not at capturing it as much as at participating in it […] ‘feels’ the energy from nature and transcends that energy into art form.”
    • he does not intervene – instead becomes a kind of a passive observer – allowing nature to affect him in ways out of his control
    • PARTICIPATES IN THE PLACE
    • allows the place to show its features and characteristics by simply being present and open-minded
    • I see a similarity between his work and mindset, as well as my own – in my work I allow the memories to come forward and then I attempt to represent them – although this obviously is more flawed than Goldsworthy’s process because I act as a buffer between my mind and my environment therefore the memories I draw and jot down are inevitably affected by bias – this could be anything from paying attention to the aesthetics of the work, but also the time it takes for me to draw (because the memory comes in so quickly and I am unable to draw it at the same rate – so over the course of a few seconds it might change while I am still attempting to draw the past memory flash)
      • inability to draw the memory accurately because the way I see it is not clear, rather hidden beneath darkness, therefore I have to fill in the gaps and this also involves some sort of bias because my past memory will be affected by the knowledge and judgment I have gained and developed ever since – so throughout the space of nearly 14 years
  • “One of Goldsworthy’s biggest aims is to just get people to notice nature again; through his extraordinary works, he inspires thoughts of how we interact with the environment and how time affects everyone and everything.”
  • “Time is the ultimate link between all beings on Earth. Time strings together all of humanity, regardless of ethnicity or culture, and it is a major factor that exists in nature as well. Everything is born from something else, exists, and then dies or is destroyed when it is time.”
    • hence he produces ephemeral works

REFERENCES:

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