In a journey in search of the energy which inspires art and perfuses through our natural world, "Rivers and Tides" documents the work of revolutionary Scottish artist Andy Goldsworthy. An amazing artistic endeavor on its own merits, the film's effortless progression through several locations and stages of Goldsworthy's work belies the enormous difficulty in melding the choppy aspects of a documentary with the natural flow of Goldsworthy's art.
"Tides" pulls this off with grace, a tribute to insightful direction (Thomas Riedesheimer), editing (Riedesheimer) and works of art that defy the often limiting confines of linguistic description.
"I've shook hands with the place
I've begun." Goldsworthy's first words are indicative of his approach to each new environment he works in. Since his work is done in a chosen setting, utilizing the materials of nature, Goldsworthy only feels ready to work when he has a grasp on the energy intrinsic in each new area. This energy becomes both the central force of order and unpredictability in the creation of his work. "Tides" accentuates this property of Goldsworthy's art by temporally contrasting the beginning processes of his work, with its designed and inevitable destruction.
One example of the cyclical progression evident throughout the film is a rock sculpture Goldsworthy constructs on the seashore. Shaped roughly like an egg, Goldsworthy attempts numerous shapes and building styles until he feels he "knows" his surroundings and material.
Seemingly erupting from the shore, the sculpture is shown in a sequence of shots highlighting the increasing tidal levels. The ebb and flow of the tide and eventual disappearance of the sculpture under water are essential to understanding the potential message behind the work. Viewing art and the destruction of art as symbiotic elements in nature instills a sense of reverence, rather than merely trumpeting the short-lived materialism inherent in the creation of a static product.
Goldsworthy's work seems to gradually add itself to nature, instead of attempting to imitate it. However, it is this very quality that requires the artist to sit for long hours, digesting his environment and letting the energy of each new material diffuse into his imagination.
The brilliance of the cinematography in this film cannot be overstated. It is at once focused and all-embracing. Often while Goldsworthy is working on a piece, shots of his work in progress slide seamlessly around the axis of the work, juxtaposed with leaves blowing or a close-up of a fast moving stream splashing past rocks. We are always aware of Goldsworthy's presence in the film, usually by way of his low-pitched narration. Quick pans of the camera pick up on his emotion, effectively involving the audience in the tedious, frustrating and yet overpoweringly rewarding process of natural art.
Thus, we cringe as Goldsworthy builds his work, "to the very edge of its collapse," often severely breaching this point. However we can't help but sympathize with the "beautiful balance" struck, in stretching the physical constraints of a natural material to illuminate aspects of nature previously hidden from our limited perception.
This film will test your ability to describe it to others. From its subject matter and uninterrupted flow of vivid natural tapestries, to its telling dialogues with Goldsworthy, "Rivers and Tides" leaves nothing to disrupt your utter involvement in this visually appealing and philosophically stimulating film.
Working in stone, clay, ice and all manner of plant material, Goldsworthy successfully molds the aperture through which you view his work and its natural canvas. In both we find that where there was once stability and stagnation, there is now vibrant, fluid motion. It is as if, in the instant it takes for a sculpture to become enveloped by nature, we are able to glimpse nature's enigmatic point of view, rather than one contingent on our own physical needs.
"Rivers and Tides" will be shown at 7 p.m. Saturday at Regal Cinema Downtown.
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