Quotes of All Topics . Occasions . Authors
An interface can be a powerful narrative device. And as we collect more and more personally and socially relevant data, we have an opportunity, and maybe even an obligation, to maintain [our] humanity and tell some amazing stories.
Beware of addictive medicines. Everything in moderation. This applies particularly to the Internet and your sofa. The physical world is ultimately the source of all inspiration. Which is to say, if all else fails: take a bike ride.
'm very conscious about how the viewing situation [of the Biennale] creates a situation for the viewer who feels pressured. I don't really have any concept of who looks at my work online. I don't think it's viewed that much online.
The mirror is a powerful tool because it forces you to deal with yourself on a deeper level. Conceptually, paintings are like mirrors. They're an expression from the artist: 'This is how I view the world - I'm presenting it to you.'
There are things that you could do with film that you could never do with HD. There's a warmth and an organic quality - almost a handmade quality - that goes into film. Film will always have a bit more of a humanistic feeling to it.
The phrase "global citizen" always gets tossed around with my work, and part of it is that, clearly, talking about being a global citizen is the only way we can talk about participating in globalization without feeling like assholes.
In my family, growing up, the women were always the ones who were powerful, and they exuded this charisma of empowerment that I hold onto and always remember. I had some difficult times, but these strong women were always a constant.
Being on the same level as everybody is really important to me. I'm trying to do really basic stuff like communicate, convey, talk, see, and invite joining and intimacy. What I'm trying to do is attach. It's not about being separate.
I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.
... art is images you carry. You cannot carry nature with you, but you carry images of nature. When you go out to make a picture you find you are moved by something which is in agreement with an image you already held within yourself.
I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.
An aged painter cannot help but accept the fact that his work belongs in the past. Younger painters have leaped into the phenomenon called contemporary, where it would be foolish of me to try to enter. But I can claim my own phenomenon.
I'm not the type of person that would shrink down when people tease me. I'm gonna fight back! I'm gonna go back at it and do it more. So, if people egg me on saying 'oh, Kingdom Hearts III is delayed' well, I might even delay it further!
I wouldn’t want to be labelled unless it was something much broader and inclusive such as an ecological artist or a visionary artist, but there’s a constraint in the definition of a feminist artist, you’re an artist and you’re a feminist.
I spent a lot of time at the New York Public Library, the main branch. I was one of those people. If you ever spend a good amount of time there, you realize there are people who spend the entire day there. They're bookish homeless people.
To find one's way anywhere one has to find one's door, just like Alice, you see. You take too much of one thing and you get too big, then you take too much of another and you get too small. You've got to find your own doorway into things.
I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
Good and Evil are very hard to explain or understand. I'm sure that evil exists, but it is hard to isolate. Good and evil are intertwined and impossible to separate. They are not completely opposites and in fact are often one and the same.
The thing I wondered about so much as a young artist, particularly when things weren't going well and I was really struggling, was, "Will I know when to give up? Will I know when I've suffered enough rejection? Will I know when to get out?"
I've got a twin sister who's an artist and growing up I was always "the loud one." She's not actually quiet at all, but I would rather fill a gap with chatter and she would just let a gap be. So there was no inclination to actually perform.
I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.
I believe that you always have to believe. It's the only way; after all we both believe that we will do this exhibition. But I can't believe in God, as such, he's either too big or too small for me, and always incomprehensible, unbelievable.
When women finally get liberated, they'll do the same that men do--dog eat dog-- that's what our culture is.... Not cooperation but assassination. Women will cooperate until they attain certain goals. Then one will begin to destroy the other.
You can compare it to dreams: you have a very specific and individual pictorial language that you either accept or that you can translate rashly and wrongly. Of course, you can ignore dreams, but that would be a shame, because they're useful.
I don't want to be like, yes, I think the American answer is always stupid, or I think it's always the right answer. So I'm in this weird place there. I'm feeling it out. Cambodia is going through an enormous amount of change right now. Daily.
Above all else, it is about leaving a mark that I existed: I was here. I was hungry. I was defeated. I was happy. I was sad. I was in love. I was afraid. I was hopeful. I had an idea and I had a good purpose and that's why I made works of art.
The smudging makes the paintings a bit more complete. When they're not blurred, so many details seem wrong, and the whole thing is wrong too. Then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.
It's really hard to have a fair discussion when you're faced with militarism, aggression, and greed. The militarists do not want dialogue. They want what they want. They're psychotic. They're greedy, they're narcissistic, and they're dangerous.
The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely be identified. A painting of a murder is of no interest whatever; but a photograph of a murder fascinates everyone.
When I paint from a photograph, conscious thinking is eliminated. I don't know what I am doing. My work is far closer to the Informel than to any kind of 'realism'. The photograph has an abstraction of its own, which is not easy to see through.
Beauty was so heavily important in my family, something I had to contend with. All those experiences allow me to make what I'm making today. I grew up with that. There's a reason why I express that in my art. I'm trying to figure it out myself.
There are some images that I will only use once, and not use again because they don't seem to really hit the nail right on the head, but there are some which are so strong they have to be reduced; sometimes just reusing them makes them stronger.
There aren't really rules for painting, but there’s certain facts and fictions about painting. Part of what I do is document another surface and sort of translate it. They’re like translations, and then part of it is fiction, which is invention.
Geniuses come in many shapes and colors, and they often run in packs. If you can find one, it may lead you to others. Collaborate with geniuses. Send them your spells. Look carefully at theirs. What could you do together? Combination is creation.
I never take a picture of a face because a face is somebody, an arm is not recognizable as somebody. When you take a photograph of someone's face, it identifies it as somebody, but if you take just a fragment, it's everybody. It's not one person.
People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.
Should one be for or against pornography? I prefer to propose images of sexuality rather than to analyze the pros and the cons of pornography. Women are interested in erotics and sexuality, so I want to use my energy to propose images about that.
I've always been a bit of a mix between art and technology. I used to paint a lot, but I'm not very good with my hands. It has always been a fusion between my computer gaming interests and being exposed to the rich data of society that we live in.
Maybe we didn't even have a chance. The message of American Pop Art was so powerful and so optimistic. But it was also very limited, and that led us to believe that we could somehow distance ourselves from it and communicate a different intention.
Artists such as Lorna Simpson, Zoe Leonard, Byron Kim and Stephen Andrews and I are around the same age, and I know them personally. The discussions I have had with them over the years have influenced the work that I have made throughout my career.
I think one important thing that happens in the studio is accepting yourself as the enemy and painting from that point of view. So instead of pointing the finger outward and passing judgment, instead, you start with yourself as your own worst enemy.
Politicians are nauseating by definition... They can produce nothing, neither a loaf of bread nor a table nor a picture; and this inability to create value, this total inferiority, makes them jealous, vengeful, insolent and a menace to life and limb.
I love Thelonious Monk's song "Just a Gigolo." It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized, because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
Part of me has always resisted the Western clichéd image of Muslim women, depicting them as nothing more than silent victims. My art, without denying 'repression,' is a testimony to unspoken female power and the continuing protest in Islamic culture.
When I close my eyes, my imagination roams free. In the same way I want to create spaces for video art that rethink the very nature of the medium itself. I want to discover new ways of configuring the world, both the world outside and the world within
When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.
There are opposing forces in all living things. My work reflects this and stirs up a contrast of emotions in the viewer... perception versus annoyance. To the viewer who has reached that level of awareness, my work is no longer abstract, but very real.
My zest for exhibition has over a long career become increasingly a mania. The ecstasy I feel as I survey work I have done I want to share with the world - not the whole world which couldn't care less, but my private world, which is my country, Canada.
I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.
Perhaps the Doors, Curtains, Surface Pictures, Panes of Glass, etc. are metaphors of despair, prompted by the dilemma that our sense of sight causes us to apprehend things, but at the same time restricts and partly precludes our apprehension of reality.