I would say that the whole way that I have approached the body is as a space, not a thing - not an object to be improved, idealised or whatever, but simply to be dwelt in.
'6 Times' is an attempt to reinvestigate the social responsibility of sculpture. The body in question is a particular body, but it doesn't really matter whose it is.
I think I understand something about space. I think the job of a sculptor is spatial as much as it is to do with form.
It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.
Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing.
What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror.
I might have been born into a very literal sense of chaos, but in fact that state is true of all of us.
I grew up in a forest. It's like a room. It's protected. Like a cathedral... it is a place between heaven and earth.
The existing documentary makers still believe that it is impossible to produce drama material in this State, otherwise they would be doing it, they say.
Whether I'm painting or not, I have this overweening interest in humanity. Even if I'm not working, I'm still analyzing people.
I don't think the discus will ever attract any interest until they let us start throwing them at each other.
Inside you there's an artist you don't know about. He's not interested in how things look different in moonlight.
I'm always followed by two or three cars and have police around. Even walking in the park, you see them taking photos behind the bushes and trying to videotape everything.
To protect the right of expression is the central part of an artist's activity... In China many essential rights are lacking, and I wanted to remind people of this.
If you wipe a dirty spot off a wall you've removed it, but you haven't eliminated it. You're stuck with a dirty rag you didn't have before.
I think for the last fifteen, twenty years or so, Hollywood has underestimated the appeal of the Western. I think there is still a huge market.
I deliberately did not read anything about the Vietnam War because I felt the politics of the war eclipsed what happened to the veterans. The politics were irrelevant to what this memorial was.
Especially when you talk about the power of documentary filmmaking, you can't really have a slant; financially, you can't have a slant on the end goals.
Jesus Christ never preached there should be celibate priests. The only reason the church has this is because it's a mechanism of power and control. You can control priests who are celibate.
The power of a handwritten letter is greater than ever. It's personal and deliberate and means more than an e-mail or text ever will. It has a unique scent. It requires deciphering. But, most important, it's flawed.
