Works Of Andy Goldsworthy

guide Of Andy GoldsworthyIt is immediately evident that Goldsworthys works, in general, strongly accentuate texture and shape. Goldsworthy describes the working process as a tactile expression, implying the involvement of a multi-sensory extension of the body, a recurring artistic intention, especially through and through cues signifying tangency and vision. For me, looking, touching, significant, plate and form ar all inseparable from the resulting work. It is difficult to say where one stops and another(prenominal) begins. This obsession with recurring forms in nature using different cloths has a ritualistic edge, where the earthworks have preoccupied the purpose and functionalism of the commercial product.This tactile discern, used as the central way of identifying the inclination, is further evoked through the use of text. For example, in a photograph of a spherical ice ball positioned aside a bleak Autumn bridge, his texts connotes the image not only in terms of its vi sual impact yet also the texture implied by its aural qualities Stacked ice sound of cracking.The shape and texture of the river in the 1988-9 Leadgate and Lambton Earthworks symbolizes its sensual form in a way which still identifies it as relating to a river, still without the non-abstracted broadloom visual art re stateation of a river. Goldsworthy describes this process The snake has evolved through a need to motion close to the ground, sometimes below and sometimes above, an expression of the space it occupies. Similarly, rather than use the language of signposts to demo a river (in its non-place), the use of more tactile cues reclaims the spectators newness of vision in Auges words, the traveller (AG) is recapturing the decorate like it is the get-go journey of birththe p coastal experience of differentiation.While Auge asserts that non-places exist only through the words that evoke them, AGs words work to clarify the gaze rather than condense it to a unified vision.But what constitutes this gaze? When we refer to his earthworks, atomic number 18 we referring only to the symbolic purpose, or the whole space inside the photo frame? Like a travel writer, a heightened perception or redisc everyplacey of the landscape is the central tenet of Goldsworthys working process any(prenominal) places I return to over and over again, going deeper- a relationship made in layers over a long time. There is a suggestion by AG that site or mise en scene affects and, to an extent, has a significant role in generating the features of his objects When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around itThe energy and space around a material are as important as the energy and space within While the train, for Auge, is one of the great culprits behind the spectators speed vision of space, Goldsworthys immobilization and transposition of the train track and its practical function to a snaking in the Lambton earthworks?, is a way for AG to recapture the essence of the landscape, to shift its perceptual status from non-place to place Staying in one place makes me more aware of change.However, part of this awareness is awareness that the land itself is fleeting and transforming according to environmental whim, and that the photograph solely represents a certain moment in a process.His fierceness on spontaneity and change according to environmental and climactic conditions, as well as his own sense of navigation, is significant because he is able to evoke the history of the object through capturing a coetaneous moment in its processes. If we look at several of his works in which piles of material are neatly centred with a hollow hole, we sense their impermanence and a foreboding decay from seeing their present formal cohesion. A Cambridge earthwork with leaves is accompanied by this awareness in text, where a materialistic description of the object is transform ed into a narrative of it Torn Hole/horse chestnut leaves stitched with stalks around the rim/moving in the wind.Perhaps more than these smaller-scale earthworks, the earthworks in County Durham most forcefully use the excogitation of environmental process to allude to the movement of travel, not only through their obvious association with trains, but through the movement implied by the object, as ripples from a thrown stone. Freezing these processes is a way of reawakening the senses, by both seeing the object statically without moving too fast and by being aware of its go on narrative, rather than being driven by the perpetual series of presents of those unrecognised non-places, exaggerated in doubting Thomas Gurskys digital photos. According to Auge, the language of signposts etc. does not heighten the spectators perception of a place, but merely substitutes their relationship to it as a mere passing acknowledgement. Goldsworthys works seem to reclaim that historicity of the n atural object that is lost in the immediacy of the commercial product, including the signs that describe and name features and punctuations in the land, trying to give it a sense of place.Challenging the prescriptions of discourse on our subjectivity, however, has always been a preoccupation in landscape art. Constables landscape paintings, for example, could represent a different challenge to the supermodern construction of landscape into a fleeting non-place, through his holistic, static, formalist and panoramic vision of the land. While Goldsworthy reconfigures the landscapes gaze beyond the static to an awareness of its morphology, materiality, unpredictability and precariousness, Constable and the landscape painters of the eighteenth century synchronized these natural irregularities, painting the clouds and sun simultaneously and consciously at different periods and halt the movement of the Hay wain into a stance. In Goldsworthys work, therefore, landscape is no longer a site , implying static, but a process, implying diachronic, in which the object and its place are interdependent.Throughout the earthworks photographs and their accompanying text, two main interlink subjectivities emerge, both of which seem threatened by the dislocation through the non-place organic nature and Goldsworthy, who is simultaneously a conscious manipulator of natures autonomous processes as well as driven by the manipulations of nature itself.The big scope of his County Durham Leadgate and Lambton Earthworks, encourages a more structural and slightly cartographic gaze. A disused railway line track becomes the site for a snaking sand track photographed aerially alongside rows of monotonous houses. Their juxtaposition, their mutual shock on one another and the snaking imprints echo of movement, in one sense seem to re-establish the inter-dependency of urban structures and nature, and the similarities in the way we perceive them despite serving different functions. In this se nse, it allows greater insight to its organic qualities by its association.In a technical sense, it could be argued that there is a tension between Goldsworthys organic creations and their technological control by the intrinsic features of the photograph. However, any hint of the artists exploitation, evoked in works such as Snowball in trees or in references to the name of the excavator driver in the Leadgate and Lambton Earthworks, is balanced out, in exchange, by their precarious existence in nature, where a rock could be precariously balanced on a boulder. This relationship between nature and its manipulations is significant because it represents a reappropriation of our relationship with those places, designated by the artists symbols rather than the symbols of attention with which individuals are supposed to interact only with texts, whose proponents are not individuals but moral entities or institutions. Goldsworthy navigates and finds his non-prescribed place, by being led by climactic and environmental factors rather than such moral entities.Auge defines non-place in enlarge against the anthropological concept of place, where the traveller occupies a non-communicative, solitary space with the language of ticket machines and train timetables. Accordingly, these unrestricted facilities and structures give the spectator an image of their individuality, or a distanced simulated familiarity, by discursively framing and displacing the gaze and the individual essence towards a simultaneous collective individuality, through the individualization of references. In contrast, by allowing the serendipitous influence of nature to produce a unique result on each object, each of the processes in the Earthworks produces individual objects, which, not over-prescribed by images and signs, evolve in partial autonomy.