Goldsworthy's sculpture-created by adding piece by careful, considered piece -adds another dimension to this estimable art form.Īt its heart, Goldsworthy's Wall is a dialogue of stone and wood, how the materials support or destroy each other. She preferred work that was extracted rather than formed. Sculptor Barbara Hepworth once discussed why she was drawn to carving rather than modeling. The way my walls are made, stone upon stone, is like growth. The large things I make don't arrive large as much American sculpture seems to have. I think the main difference between a design process and a sculptural process is that the latter is close to the way things grow. I bring wallers with me from England and Scotland whose idea of a wall is work, and the idea of work is very important because it makes a strong link to agriculture. I still see walls as a vigorous and growing part of the landscape. The experience inspired Goldsworthy to reflect on the difference between American and English concepts of "walls." The nostalgic view of walls is a very American view because most of them have disappeared here. In 1989, Goldsworthy constructed the "Wall that Went for a Walk" in his native Cumbria, a serpentine wall that hugs and encloses the landscape.Ī decade later, he built a similar dry-stone sculpture, "Storm King Wall," in New York. The wall is one of Goldsworthy's most recognized and studied figures. Something discarded has its own shape already that can be dropped into the mix." "Very often, the discarded or the ephemeral or the thrown away can have a vital role in a collage. I love this thought snippet from collage artist Mark Hearld in his book on the wellspring of creation: The latter to push boundaries through experimentation, the former to create pieces that will endure and change. Goldsworthy constructs permanent and ephemeral works. It will not remain as it is now." Photograph by Andy Goldsworthy. "There is tension between the trees and the wall.
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