Trailing Goldsworthy from Brazil

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Instead dildo, the talking head segments of “Leaning Into the Wind” feature Goldsworthy reflecting on his early influences (including the coastal city of Morecambe, England sex chair, where he soaked up atmosphere during his studies at a nearby college sex toys, and, later, working on farms); environmental change (the yellow elm leaves that he uses to gild his most eye catching installations are rapidly disappearing); and the exquisite liminal connection he’s been pursuing over the course of his career, whether between nature and culture, control and futility or beauty and decay.Artist Andy Goldsworthy is silhouetted against the sky in the documentary “Leaning Into the Wind: Andy Goldsworthy.” (Andy Goldsworthy/Magnolia Pictures)Far more satisfying than Goldsworthy’s own observations are the images of the artist at work. Following with his camera at a discreet distance or elevated angles, Riedelsheimer frames both the process and resulting work with care and sensitivity. Trailing Goldsworthy from Brazil, Spain and France to New Hampshire , San Francisco and Scotland (his adopted home), “Leaning Into the Wind” chronicles the creation of thrilling new works, including a tree trunk encased in a marvelously cracked fondant of local clay; an intervention involving reeds, thorns and moss that bursts with whimsy and solemnity; and an installation called “Sleeping Stone,” whose egglike shape a Goldsworthy standard is both womblike and sepulchral.Gorgeously photographed, and with a minimalist score by Fred Frith, “Leaning Into the Wind” offers viewers a welcome chance to consider the work of an artist who defies the recent commodification cult to embrace the ephemeral and the nominally “worthless.” (He’s given to lying down on the sidewalk in the midst of a rainstorm, using his prone body as a human stencil to create momentary street graffiti.) Goldsworthy’s raw materials are no less than time, memory and the nature of nature itself.

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