Andy Goldsworthy - Domo de Argila Legendado

you fly in or you see pictures of real you see real surrounded by forests and the hills you see the city surrounded by nature external view is powerful relationship to its environment and then when you come to real and walk the streets you realize it's not just around the city is in the walls it's in the street and I feel that more than any city that I've been to the presence of nature so it was that kind of challenge for me as an artist who works with nature is to find nature in in the building and to make that connection between the building and its origin and I was a very it's a very creative sort of dynamic for me to work with I wanted a brick building this one is fantastic because the brick is not new but it is kind of almost he's very he's crumbling the brick walls of this particular area the warehouse is the decaying walls that were revealing their interior the idea of working with those walls every every building has some error in the decay as also reveals some of its geology where windows were blocked where once there was a door and first I said look at the windows and all doors and the idea of making works that were in those areas and making a raw clay work that would crack some of these connection between the building and its origin isn't plain the clay is from a place where bricks are made this is just about to become a brick this clay and we have to take it so you walk through the buildings into the brick into the origin of the brick I didn't know how to make the dawn I know what I wanted to be inside the dome but I didn't know how to make it wasn't sure how to make the door and Marcela came to see me in Scotland and he showed me the video a video of the the Indian dwellings and I had in my studio the exact same in a model that I was doing for another commission it made works like this before not with clay but it was a really nice moment where he you know I realized this sculpture I've already done can combined with this one I want to make but the bones inside the clay eventually was something that I particularly was interested in because of the brick building but also the clay that we always and in the hills and this relationship with clay so it's a material is very important for the city but I wanted to go a little deeper you know I wanted to get underneath the surface of things and felt that to push it would be to to actually enter the brick or enter the building somehow into a space that was raw a very intense space so you were actually engulfed in both the building but also the claim inside the building is this clay and I think that's why you really try to do in in the work is to try to remember the origin to go beneath the skin of the surface appearance of the place the building I think this worked will possibly do that particularly well inside the brick but this is a whole technique I understand the clay really well I've worked with clay a lot I mix the clay with human hab because that's a great way to hold the clay together it's not so visible but it's in there and you can receive if you look very carefully and I also like that people are bound up in the work you know they're in the walls and those were also the techniques that I've developed but I never worked against the wood before or I've never made a dome I've made flat ceilings but the hay in this play this particular piece is underwritten by a kind of a learning process so the beautiful thing I hope we shall now occur is that the whole structure underlying structure will start to speak and create cracking and things that we'll talk about it'll be all cracks it'll be like this I don't like looking in the universe or something you'll be in a state of collapse as suspended collapse it'd be like somebody falling but never reaching the ground cracks essentially are about the abdication of control because you can't predict the crap that's why I maintain they're like throws you know you throw something into the air and there's none predictability about that but you know that if you throw something in a certain way in a certain light in a certain atmosphere in a certain place at a certain time it will be a great throw so whilst you can't control it there are some things you can work with you make the right circumstances and this is what I have done here just I hope it has to be in the nature of art to push things I hope I hope I am an artist that doesn't rest on something that I know and I would always do something that has an element of the unknown about it and I think the old again I'm 56 now and we've got 20 odd years left making sculpture hopefully a bit more whatever you know I'm not going to spend that making things I know I want to be doing these this is far more interesting even though I does it is a little tense discomfort is a it's a good state for an artist to be in can explain like I have an irrational and conceptual elements of the piece but I think it's really important that ultimately it's something that can only be explained to a point after which it has to explain itself and that enter the territory of the inexplicable it has to be experienced and and I work like this it really will have to be experienced but ultimately when the works finished and you come off that Street and all that street life and all that energy and the light and the people and then you walk into this very intense quiet space inside in the brick I think that will then move into an area of the inexplicable you

Channel: assistaOiR

Views: 8,902

Rating: 4.942029 out of 5

Keywords: OIR, Andy Goldsworthy, Marcello Dantas, fine art, arte, Cais do Porto, escultor, sculptor, Magnetoscópio, Rio de Janeiro

Id: 4o47l-ZanR0

Length: 9min 17sec (557 seconds)

Published: Wed Sep 19 2012