I'm an artist living in a small, Scottish village. So one would expect to be treated with some sort of caution. And the village and the farmers have shown enormous tolerance of me and interest in what I do. I mean, they don't necessarily understand what I'm doing all the time. But they, you know, I think they respect what I do and that there is a connection between what they do with the land and what I do, you know, that we're both dependent on weather and respond to that.
Andy GoldsworthyAt its most successful, my 'touch' looks into the heart of nature; most days I don't even get close. These things are all part of a transient process that I cannot understand unless my touch is also transient - only in this way can the cycle remain unbroken and the process be complete.
Andy GoldsworthyMy art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.
Andy GoldsworthyThe things that I make are that which a person will make. They're not meant to mimic nature. They are nothing but the result of a hand of a person.
Andy GoldsworthyWhen it does get below freezing and there is - it's cold enough for ice to form, then that changes the whole landscape, and it makes the landscape a different landscape to the one that I worked with previously. And I want to understand that. But the big tension of the ice works is that they're often made when it's cold enough to freeze one piece of ice to another.
Andy Goldsworthy