ict where good ice and icicles will form. When the cold arrived, that is where I went--disappointed at first because it was too sheltered by overhanging trees. One small pool was barely frozen. I used this precious ice--the work was not good, but it gave me a feel for the place" (Bourdon 4).Goldsworthy is known for working in unfavorable weather conditions. During the late winter of 1988-89, Goldsworthy created 18 large snowballs. Within five days, only the debris collected in the making of the snowballs remained scattered on the floor in pools of water. Another example of Goldsworthy's documentation of ephemeral change through art can be seen in his photographs of the Ballet Atlantique. The Ballet Atlantique was a performance piece about the significance of change and the fleeting characteristics of time. Goldsworthy took a series of pictures recording the passage of sticks thrown into the air. Goldsworthy has also worked on large-scale permanent projects. He stated"My approach to larger, more permanent work is longer-term. There is a process of familiarization with sight through drawings that explore the location and the space. This is the only time I use drawing to work through ideas; for me it represents a change in approach. I often live with a site at the back of my mind for months, sometimes years--a target for energies and ideas.By working large, I am not trying to dominate nature. If people feel small in relation to a work, they should not assume that there is an intention to make nature itself small. If anything, I am giving nature a more powerful presence in the mass of earth, stone, wood that I use. I do not change the underlying processes of growth, and nature's grip is tightened on the site that I have worked" (museum 1).When looking at Goldsworthy's work, it is easy to question the role photography plays in its documentation. The camera is crucial for Goldsworthy. Through photographs, the viewer sees his work from a l...
