![]() Through exhibitions or published images, Goldsworthy mediates the accessibility to his work by which pieces are chosen to be printed and the manner in which the piece is photographed and ultimately viewed. Since much of Goldsworthy’s sculptures and installations are created in private or remote areas, and begin to fade away the before they are even complete, the photographic renderings of his work are often the only manifestation of his genius that the public is blessed to experience. Goldsworthy utilizes the photographic evidence of his work as a means of reflection, to reassess the piece and inform future projects. “If the work is one that is ‘activated’ by a particular type of lighting, or by the flow of water or incoming tide for instance, or is ‘time-based’, then Goldsworthy will take multiple successive shots, usually framed from the same vantage point” ( Andy Goldsworthy Digital Catalogue : Photography). ![]() He prefers maximum depth of field and brackets his exposures to produce the greatest range of quality and ensure the influences of the constantly fluctuating environment are not overlooked. Goldsworthy takes all the photographs himself, using three separate cameras, and regular lenses with no filters. He has described the process of photography as one that is ‘routine’ and ‘demanding.’ Certainly in terms of the setting up, timing, viewing, and awareness that it requires of Goldsworthy, the photographing process constitutes a performative corollary to the making of the sculpture” ( Andy Goldsworthy : Digital Catalogue). “It is well known that every ephemeral work that Goldsworthy has made is invariably photographed, always immediately following the making, and often in revisiting the work. Beginning strictly as a documentary practice, his photography evolved into a means of capturing, archiving, and sharing his temporal pieces. ![]() Goldsworthy’s use of photography is an important aspect of his practice. I leave all my work outside and often return to watch it decay” ( Andy Goldsworthy Digital Catalogue: Selected Extracts). I want my art to be sensitive and alert to changes in material, season and weather… My sculpture can last for days or a few seconds – what is important for me is the experience of making. “I have become aware of how nature is in a state of change and how that change is the key to understanding. Much like Money and the impressionist, Goldsworthy pays close attention to the way sunlight falls on objects or the way wind may animate leaves. Goldsworthy taps into nature’s uncertainty, and this tension is present in his works. Most notable, perhaps is the inherent temporal nature of his installations. Through the manipulation of leaves, sticks, stones, dirt, feathers, and even icicles, Goldsworthy dazzles us with stunning beauty and demands an appreciation of nature’s own creations. Like many land artists, he uses only natural materials found at the site of construction, foregoing the use of glue, rope, or other manmade tools with the intent to gain an understanding of the natural material’s intrinsic qualities. His works range from delicate and transitory arrangements to massive, sturdy installations. Decades of practice have nurtured a humble and sensitive attention to form, light, color, condition, and temporality. Engaging in outdoor art-making since the 1970s, Andy Goldsworthy is the most well-known environmental artist of our time.
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