![]() ![]() This art, it has to be said, is labour intensive.Įxamples of Goldsworthy's work are widespread in location. Beyond a further sequence of rooms running into each other, Goldsworthy has encapsulated a curtain of horse-chestnut stalks all pinned together with blackthorns. A great 'Outclosure' (2007) has been established, a visible reference nearby to the enclosures movement that created rigid and permanent changes to the English landscape 300 years ago. Key among these are the 'Clay Room' (2007) and the 'Wood Room' (2007), which deliberately create a claustrophobic, tomb-like atmosphere. At the Yorkshire Sculpture Park in the underground galleries (which responds to the artist's need to go underground as well) there are four rooms. Goldsworthy admits that there comes a natural foreboding to this work nowadays as there is a need to reflect the harshness of nature as well as its inherent beauty. Increasingly, Goldsworthy's raw material is the product of the natural world rather than merely by allusion and referencing, in fact working with nature as a whole. ![]() So-called 'blood drawings' are also on show, arising from the circumstance where an accidentally killed animal leaks blood and snow onto a canvas over which it is hung. There are new 'sheep paintings' by Goldsworthy as well, yet created in fact by the footprints of animals and by the droppings of animals. 'Hidden Trees' emerges at a new location, inserted into an ancient estate 'ha-ha', with what seems like an archaeological dig there making allusion to how something may be hidden but is always there. ![]() These now get re-interpreted at new installations. There is recognition of both nature and the span of time of agricultural patterns on the landscape and of key notions such as rooms of clay, sheep pens, and stone mounds. Goldsworthy has remained true to his principal themes, such as holes, portals, the walk, the journey, with full documentation of all the completed work. He has been here before: from 1983, and again in l987, he was Artist in Residence, where his work was highly material, but also resonant with seasonality. Some of his constructions look like they were made to last 300 years. Andy Goldsworthy, land artist, is helping the Yorkshire Sculpture Park celebrate 30 years since it opened. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |