My art came out of the British landscape which is heavily worked by people, so that's important to my work. You've made sculptures that deal with people and their landscapes all over the world. The sun needs to penetrate and catch the bronze in just such a way at just such a moment. In the neutral space of a gallery, the light doesn't change, are just held in suspension when really they need to go from darkness into the light. It's a very appropriate way to describe some of the works. Is it frustrating to have to rely on photography often to display your works rather than showing the real thing? Well, I've given and now I want something back. But a building no matter how beautiful is a dead space compared to the outside, and it takes whereas the ephemeral work gives. Here in the Yorkshire Sculpture Park is an opportunity, with a gallery and the outdoors, to make work that people can see, lay on, touch and engage in without photography as a medium. That's how I get a lot of the ideas for the larger works. But the ephemeral work is still very, very important. Goldsworthy: The social nature of the landscape is something that has become increasingly important to me. Is your work here meant to be a more permanent statement about this place? TIME: Much of your work has been fragile, made in the wild outdoors and only preserved in photographs. In front of a curtain he made by pinning together 10,000 horse chestnut leaf stalks, Goldsworthy, 50, spoke to TIME's Michael Brunton about his inspiration and his homecoming. In another gallery all but a snaking ribbon of picture window has been covered in cow dung. Among the new outdoor pieces are dry-stone wall enclosures that cradle giant fallen oaks, while inside there are rooms of stone, wood and clay. 6, 2008, the show features major new works and a photographic review of many of the ephemeral works in nature for which Goldsworthy has become famous over the last 30 years. And it is to the grounds of the 500-acre Yorkshire Sculpture Park, near Wakefield, where he first worked in 1983, that Goldsworthy now makes a fitting return for the largest ever exhibition of his work. Follow Yorkshire farm was where, from the age of 13, British artist Andy Goldsworthy first learned his trade: how to use a shovel, skin a hare, build a dry-stone wall.
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