Not being able to touch is sometimes as interesting as being able to touch. Andy Goldsworthy interesttouch Change image and share on social
I am not a performer but occasionally I deliberately work in a public context. Some sculptures need the movement of people around them to work. Andy Goldsworthy contextdeliberatelymovement Change image and share on social
Even in winter an isolated patch of snow has a special quality. Andy Goldsworthy isolatepatchquality Change image and share on social
Abandoning the project was incredibly stressful after having gone through the process of building the room, installing the kiln, collecting the stones, sitting with the kiln day and night as it came to temperature, experiencing the failures. Andy Goldsworthy abandonbuildcollect share on social
The early firings contained many stones. Andy Goldsworthy containearlyfiring Change image and share on social
People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city. Andy Goldsworthy bringcentrecity Change image and share on social
The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it. Andy Goldsworthy artistcomplexcreatively Change image and share on social
The difference between a theatre with and without an audience is enormous. There is a palpable, critical energy created by the presence of the audience. Andy Goldsworthy audiencecreatecritical Change image and share on social
Snow provokes responses that reach right back to childhood. Andy Goldsworthy backchildhoodprovoke Change image and share on social
I soon realised that what had happened on a small scale cannot necessarily be repeated on a larger scale. The stones were so big that the amount of heat required was prohibitively expensive and wasteful. Andy Goldsworthy amountbigexpensive share on social
