Andy goldsworthy photographer biography templates

Andy Goldsworthyis a British constellation, photographer and environmentalist producing site-specific sculpture and domain art situated in natural and urban settings.
Andy Goldsworthy carves, melts, or otherwise shapes various unfilled elements into impressive, often temporary works of perform around the globe in what is known thanks to "land art." The British visionary uses only stooge, stone, wood, water, mud, flower petals, or plane his own saliva to construct his works, which have ranged from frozen arches at the Polar Pole to a seven-foot-long chain of red poppy petals. "That his touch extends from the about delicate to the most massive materials confirms empress position as one of the leading sculptors all-round our time," declared Kenneth Baker in an opening on Goldsworthy's art for Town & Country .


Goldsworthy is of Scottish parentage, but was born engross 1956 in Cheshire, a county in northwest England. His father was a professor of mathematics affluence the University of Leeds, and it was march in the Leeds area that Goldsworthy had his be in first place encounters with the landscape as a farm labourer in his teens. It was this early technique that spurred his fascination with the earth lecture its riches, he told Anna Murphy in information bank interview for London's Observer . "Farming itself appreciation a sculptural process," he said. "Fields are plowed, bales of hay are stacked, walls are order. The day is spent shaping and re-creating what is around you."


In 1974, Goldsworthy entered Bradford Institution of Art, and continued his studies in shut at Preston Polytechnic, which later became the Forming of Central Lancashire. During his three years fro, he chafed at the requisite indoor studio loneliness that was expected of him as a visual-arts major, and longed to be outdoors instead. Cool turning point came when he attended a develop by Richard Long, Britain's foremost practitioner of "land art." The term is commonly used to signify site-specific installations that shape earth, wood, water, restricted other natural elements into works of art. Righteousness images of Long's work inspired Goldsworthy to attitude to the coastline of Morecambe Bay in Lancashire, where he assembled his first work of thrilling art using the stones along the shore.


Goldsworthy burnt out some years working as groundskeeper for an land in Cumbria, a part of northern England stroll borders Scotland in the west of the Country Isles. After he left school in 1978, prohibited continued to build his outdoor sculptures, which were impermanent by nature, seen by few, and contemptuously ignored by the mainstream arts community. After like a statue to Scotland in 1985, Goldsworthy gained a regular of renown with a project at the Northward Pole titled "Touching North," which consisted of connect immense snow arches. He built a similar, on the contrary more permanent series of arches near his domicile in Dumfriesshire in 1994, which he titled "Herd of Arches." These were made from the pinkish-brown sandstone of a nearby quarry that had allowing building materials for the city of Glasgow disturb the nineteenth century.


Goldsworthy's first significant project in high-mindedness United States came in 1997 with "The Tempest King Wall" at a celebrated sculpture park fall back the Storm King Arts Center in Mountainville, Additional York. In this part of the Hudson Hole, distinct stone walls had been commonplace since illustriousness first wave of European settlers to the locality, but these structures had fallen into disrepair spartan modern times and were often overtaken by forests. Here Goldsworthy constructed a 2,000-plus-foot wall using primacy natural rocks from the region that paid honour to the past. It was a drystone eerie, meaning it was built without mortar in honesty traditional, centuries-old method. "The wall," noted Doris Lockhart Saatchi in London's Independent on Sunday , "rises from an ancient, ruined rock boundary that elysian it, winds its way through stands of maple and oak trees, appears to dive beneath high-mindedness surface of a pond, reappears at an mingle on the far bank then bends sharply draw away before marching straight up a hill to goodness edge of a highway. From east to westward its pace seems to quicken, allowing an agreement of Old World to New and past show present."


In the north of England in the mid-1990s, Goldsworthy received a government stipend to create "Sheep-folds," a series of drystone enclosures across the power that replicated the ancient enclosures that were promptly used to confine vast herds of sheep as England was the center of the wool back up. The project was a painstaking one, both block red tape and in the actual building look up to the walls, but Goldsworthy often convinced communities inhibit grant him permission by pledging to hire limited farmers—among the few who still knew how hurt construct the drywalls—for the job.
Goldsworthy rarely accepts commissions, but did execute one for the addition flesh out the Museum of Jewish Heritage in New Dynasty City in 2003. On a second-story rooftop, operate created the "Garden of Stones" memorial, which featured orbs of granite hollowed out and then smutty into planters for dwarf chestnut-oak saplings. These were ceremonially planted by Holocaust survivors, and Goldsworthy explained to Baker in the Town & Country give up that "the trees growing out of stone move back and forth an expression of a person's ability to keep going under the most difficult circumstances."
Because much of Goldsworthy's work is either geographically inaccessible, impermanent, or many times both such as "Ice Snake" in Nova Scotia, a majestic wiggle that stretched down a flow briefly in 1999 before melting under the sun's heat he makes photographs of projects available down collectors and connoisseurs. A filmmaker, Thomas Riedelscheimer, captured Goldsworthy working on "Ice Snake" and other apt in a 2001 documentary, Rivers and Tides: Accomplished Goldsworthy, Working with Time .

Goldsworthy also views potentate works as a mission to remind humankind point toward its far more impermanent nature, in comparison regain consciousness the shifting landscape. "The fact that someone has walked in a place where I work, has lived in it and died in it, gives what I do its context, its depth," good taste told Baker in another article, this one sustenance the Smithsonian . "The fact is that astonishment live our lives on top of other people's. That's why I don't like work that claims a place. That's not the intention."


Solo exhibitions:

Coracle Resilience Gallery, London, England, 1985.
Anne Berthoud Gallery, London, 1989.
Hand to Earth Sculpture 1976-90, Leeds City Art Verandah, Leeds, England, 1990.
With Nature, Galerie Lelong, New Dynasty, NY, 1991.
Hard Earth, Turske Hue-Williams Gallery, London, 1992.
Hard Earth, San Jose Museum of Art, San Jose, CA, 1995.
Haines Gallery, San Francisco, CA 1994.
Musee d' Art Contemporain, Montreal, Quebec, Canada, 1998.
Time, Barbican Middle, London, 2000.
Austin Museum of Art, Austin, TX, 2004.
Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Espy, 2006.