British - Artist | July 26, 1956 -
The early firings contained many stones.
Andy Goldsworthy
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The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.
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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.
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Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.
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Three or four stones in one firing will all react differently. I try to achieve a balance between those that haven't progressed enough and those about to go too far.
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Once the fired stone is out of the kiln, it is still possible to mentally reconstruct it in its original form.
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It's frightening and unnerving to watch a stone melt.
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I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.
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The first snowball I froze was put in my mother's deep freeze when I was in my early 20s.
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Confrontation is something that I accept as part of the project though not its purpose.
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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.
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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.
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