![]() It may be possible to read Goldsworthy’s role in this instance as a summoner of some quiet spirit that must always inevitably fall back into the other side of the living the constantly commutable substance, dripping down into an invisible, macro underworld beyond. He calls it the “white shadow of wood” something that is not as rigid or as pliable as the various parts of a tree but something that feels almost like a ghost-image of a living thing. But there’s also a subtle, textural element to his description, one that reflects upon the strangeness of working with water but in a solid form. There’s a melancholy to this description that earnestly belies Goldsworthy’s quiet frustration at the fleeting nature of his work. ![]() He writes that “In the afternoon went back – down where made arch out of ice – larger arch – very beautiful – sun hitting it – but only for short while – made it in white shadow of wood.” (1982). In Goldsworthy’s diary, he recalls how fleeting his initial (and perhaps most beautiful) sculpture was, made even more evocative by the sun’s rays shining through it. The ice sculpture mixes the preciousness of Goldsworthy’s similarly constructed arches made of stone with a definitive period of finishing time, brought with both the time needed for each individual slat of sculpture to melt and form with one another and the subsequent time with which the piece invariably melts overall. The process for Goldsworthy in general seems quite simple on paper though clearly incredibly difficult in reality that of wandering into a landscape and looking for raw materials to use in the creation of some sort of ritualistic building. ![]() For this article, the ice arch in question is to be the one produced in Cumbria in 1982, one of the best that is captured in the photography of his many momentary visions. Though almost everything the artist does has a brief lifespan as a finished object, there are few that seem so precarious as the ice works, specifically his various ice arches. ![]() My remit is to work with nature as a whole.While Andy Goldsworthy’s work has a general theme of transience running through its core, it is perhaps best summarised in his use of ice within sculpture. 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 Andy Goldsworthy’s art often include brightly coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. “It’s just about life and the need to understand that a lot of things in life do not last.” Working as both sculptor and photographer, Goldsworthy crafts his installations out of rocks, ice, leaves, or branches, cognizant that the landscape will change, then carefully documents the ephemeral collaborations with nature through photography. You can make them on your own, or with your family, pals, kids, pets, neighbours or anyone else you might be sharing your home with during these unprecedented times.Īndy Goldsworthy is a British artist known for his site-specific installations involving natural materials and the passage of time. Sculptures at Home give you a chance to make your own artworks with materials that are commonly found at home.
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