Goldsworthy has made more `traditional' forms of art in galleries: his bracken, fern and horse chestnut stalk works, for instance, were made by pinning the materials onto white gallery walls. Goldsworthy spoke of stones and seeds in terms of phallic tumescence and orgasmic release: `I found an energy in stone that can best be described as a seed that becomes taut as it ripens - often needing only the slightest of touch to make it explode and scatter its parts' (W, 23). He says the cones on a hillside are like sentinels or a group of people (Sh, 17). Goldsworthy himself anthropomorphizes his work. The eroticism of Andy Goldsworthy's sculpture is readily apparent (and one of the reasons for his art's popularity), but the sensuality of Goldsworthy's art is non-human there are no `human' figures in his work, though there are vaginal openings, phallic rocks, mounds like breasts, cairns bulging outwards like pregnant bellies, and stalks that bend gracefully like ballet dancers: if one wants to anthropomorphize and sexualize Goldsworthy's art, it's easy. "synopsis" may belong to another edition of this title. Malpas’s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available. William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Rather, they celebrate the presence of leaves, the being-in-the-world of leaves, so to speak. Goldsworthy’s leafworks do not have a scientific agenda. ‘There is a whole world in a single leaf’, remarked Goldsworthy. A leaf, after all, is a complex biological factory, so the natural scientists say. Goldsworthy’s aim in the leaf pieces, though, draws attention to the fragility and delicacy of leaves, as well as their strength and function. The Autumnal colours of course connote nostalgia, decadence, sensuality, Romanticism, time passing, the decay of the year, and so on, all those things John Keats wrote about in his ‘Ode: To Autumn’, and in a billion other poets’ art. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy.
He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Two sycamore leafworks of 19 are very simple: a leaf black from cow shit is placed against pale Autumn leaves another leaf, bleached white, is set down on a bed of dark leaves.
Andy goldsworthy artworks Patch#
Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves Dock Leaves interwove red leaves in green grass stalks.
What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another.
It is the leafworks that are the most colourful of Andy Goldsworthy’s sculptures. Bibliography and notes.ĮXTRACT FROM THE CHAPTER ON GOLDSWORTHY’S LEAFWORKS This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere.įully illustrated, with a revised text.
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