"My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all."
— Andrei Tarkovsky, from “Against Interpretation: An interview with Andrei Tarkovsky,” Framework no. 14, 1981. (via cerebralnausea)
"Impatience has probably been a bigger stumbling block in the way of real ability than anything else. Doing anything well, I’m sure, means hurdling obstacles of one kind or another most of the way to the goal. Skill is the ability to overcome obstacles, the first of which is usually lack of knowledge about the thing we wish to do. It is the same in anything we attempt."
— Andrew Loomis, Drawing the Head & Hands (via pogorobot)
"It is very hard to live with silence. The real silence is death and this is terrible. To approach this silence, it is necessary to journey to the desert. You do not go to the desert to find identity, but to lose it, to lose your personality, to be anonymous. You make yourself void. You become silence. You become more silent than the silence around you. And then something extraordinary happens: you hear silence speak."
To share a watermelon with an unknown person, 2005
photo documentation of performance
To share a watermelon involved Pak buying half a watermelon at a Hong Kong supermarket, taking it home and eating it at his kitchen table. Pak’s conception of what he was doing—“sharing” with an unknown and unknowing collaborator through the ostensibly anonymous logistics of a commodity-based culture—reconfigures a mundane commercial transaction into a latent social network. Typical of his projects, this strategy allows him to devise seemingly personalized connections from otherwise anonymous situations.
"What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn’t everyone’s life become a work of art? Why should the lamp or the house be an art object, but not our life?"