Start with Andy Goldsworthy’s earthy installations at the Royal Scottish Academy, then head outdoors to discover more of his work, alongside pieces by Barbara Hepworth, Antony Gormley and Charles Jencks
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distinct farmyard smell lingers near the muddy Sheep Paintings. People walk slowly between two dense hedges of windfallen oak branches, or stand silently in a fragile cage of bulrush stems with light seeping through the mossy skylight overhead. I’m visiting the largest ever indoor exhibition of work by Andy Goldsworthy, one of Britain’s most influential nature artists. His recent installations have a visceral sense of rural landscape: hare’s blood on paper, sheep shit on canvas, rusty barbed wire, stained wool, cracked clay.
The show is a sensory celebration of earth – its textures and temperatures, colours, character. The seasons cycle through an ongoing multidecade series of photos featuring the same fallen elm. There are leaf patterns and delicate woven branches, crusts of snow, lines of summer foxglove flowers or autumn rosehips. Andy Goldsworthy: Fifty Years is a National Galleries of Scotland (NGS) exhibition in the neoclassical Royal Scottish Academy building.
After the exhibition, as a sort of cultural pilgrimage, I’m walking six miles across Edinburgh in search of works by the Dumfriesshire-based Goldsworthy and other artists who engage with the landscape. I start at the Royal Botanic Garden (free and open daily, rbge.org.uk), a short bus ride north of the National Gallery. Just inside the east gate, there’s a perforated sculpture by Barbara Hepworth with sunlight pouring through it.
