There's another world out there just beyond the world we're in. It's just on the other side of that translucent, semitransparent surface.
When I make my work, I am making what I hope to be something functional - a space for individual contemplation and reflection. I want my art to be useful.
Emotions are the key to many aspects of life. They are precisely the elements that make human beings human. I think the fact that emotions have been reduced and put off to the side in intellectual work, particularly in the 20th Century, is tragic.
The fundamental aspect of video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me the essential basis of video is the movement - something that exists at the moment and changes in the next moment.
People have experiences in art museums today that they used to have in church.
Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.
I don't believe in originality in art. I think we exist on this earth to inspire each other, through our actions, through our deeds, and through who we are. We're always borrowing.
Live your Art. Don't think about it.
It only takes a second for an impression to become a vision.
There is an invisible world out there, and we are living in it.
I like to keep the meanings in my work flowing and open.
Art has always had as its test in the long term the ability to speak to our innermost selves.
Fifty years from now I don't think optical realism is going to be an issue in visual communication any more. Experience is so much richer than light falling on your retina. You embody a microcosm of reality when you walk down the street - your memories, your varying degrees of awareness of what's going on around you, everything we could call the contextualizing information. Representing that information is going to be the main issue in the years ahead - how the world meets the mind, not the eye.
A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.
I would prefer to be forgotten, then rediscovered in a different age.
Revolution is something that actually starts in individual hearts.
You are just as qualified as any expert to make a judgment and have a feeling or a response to any work of art.
Vision connects you. But it also separates you. In my work, and my life, I feel a desire to merge. Not in terms of losing my own identity... but theres a feeling that life is interconnected, that theres life in stones and rocks and trees and dirt, like there is in us.
The electronic image is not fixed to any material base and, like our DNA, it has become a code that can circulate to any container that will hold it, defying death as it travels at the speed of light.
My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.
For the Persian poet Rumi, each human life is analogous to a bowl floating on the surface of an infinite ocean. As it moves along, it is slowly filling with the water around it. That's a metaphor for the acquisition of knowledge. When the water in the bowl finally reaches the same level as the water outside, there is no longer any need for the container, and it drops away as the inner water merges with the outside water. We call this the moment of death. That analogy returns to me over and over as a metaphor for ourselves.
In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.
The human brain is probably one of the most complex single objects on the face of the earth; I think it is, quite honestly.
A doctor once told me that with crying you aren't sure what its derivation is. If someone comes at you with a knife, you don't cry: you scream, you try to run. When it's over and you're OK, that's when you cry.
I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.
