River and Tides Review!

WOW, what a great flick for an artist to see, it had a special message hidden in it for me and my art, I not sure how I would describe it but let me try. This sculpture had a connection to the material world that most miss, this is the same connection that I experience with my photography. I liked the natural materials that he used, because it is the same things that I drawn to, that water and nature, mainly the ocean and trees.

It was a dynamic night for me, with my emotions running high, that is I needed a river to flow through me, and it did through the movie, I felt the tides and waterfalls inside me as I watch this video, and it had a calming effect. After the screening I talked to some people to get others impressions and was happy to share my feelings. Connecting with others is a great experience and enriched the nights experience. I then wandered to the water fountains at Logan circle to get some positive energy. I checked the lighting on the fountain with relationship to the frog sculptures and found the each of the three frogs had different lighting, noting the sculpture is not symmetrical and the light is different on each frog . Then I sat on my favored bench and watched the water flow on the sculpture and become part of the flow of life. Then nature provided an unusable collection of leaves, what was striking was the soft-muted colors and the arrangement. I got the camera out and photographed it. I liked the strangeness about, and wonder how the arrangement came to be. In the movie the sculpture created pieces with leaves, but I prefer to have her mother nature sculptures
The review of the film at Project Basho
Rivers and Tides: Andy Goldsworthy Working With Time (2001)
“Description:Anyone who has built a sand castle by the edge of the sea and paused to observe the rising tide creep in and wash it away, can sink into the contemplative world of Andy Goldsworthy, the Scottish artist profiled in Thomas Riedelsheimer’s documentary. This bearded, soft-spoken 46-year-old dreamer works mostly outdoors, creating mutable sculptures that he calls earthworks. As the film’s images accumulate, the movie becomes a sustained and ultimately refreshing meditation on surrender to the idea of temporary. If Mr. Goldsworthy’s humility in the face of change reminds us that all is vanity, his playfulness also reminds us that a fervent engagement at the moment is in its own way infinite.”
Stephen Holden, The New York Times