My father came to Chennai at the age of 16 from a village in Coimbatore. He was an artist and was clear he wanted to do something, so he came to Chennai and joined an art course for eight years before he came into films.
Sound as medium has an incredible elasticity. So, of course, it is tempting for artists of other fields to try something with sounds. Why not? We are living in the age when there is no limit in gathering all forms of art and music to mix it together ...
I think that in itself is kind of an amazing achievement to be able to say that your full-time career is in any creative arts, let alone a show that has kept people interested for coming on four seasons and hopefully more.
You may tell a man thou art a fiend, but not your nose wants blowing; to him alone who can bear a thing of that kind, you may tell all.
I did all the work at the beginning up until the point where I couldn't handle the increasingly heavy art production burden alone. I needed, and got, assistance.
I was always behind in class. There was people in my class who was amazing at art, amazing at maths, amazing at English, but I wasn't clever with anything, even though I tried my hardest.
The real art is not to come up with extraordinary clever words but to make ordinary simple words do extraordinary things. To use the language that we all use and to make amazing things occur.
If architecture had nothing to do with art, it would be astonishingly easy to build houses, but the architect's task - his most difficult task - is always that of selecting.
In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives.
Everyone should be able to build, and as long as this freedom to build does not exist, the present-day planned architecture cannot be considered art at all.
I find the aristocratic parts of London so unattractive and angular; the architecture is so white and gated. But in New York, it's different - even uptown it's really grand, and there's no real segregation there. It's all mixed up.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
When I write now I do not invent situation, characters, or actions, but rather structures and discursive forms, textual groupings which are combined according to secret affinities among themselves, as in architecture or the plastic arts.
Once you learn to look at architecture not merely as an art more or less well or more or less badly done, but as a social manifestation, the critical eye becomes clairvoyant.
All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
The World's Fair was the precursor to theme parks like Disneyworld, and the really sort of cheap, superficial promotional architecture that you see everywhere in the U.S. I think there's a danger when you start creating a civilisation that isn't mean...
Most of the time, people look at a piece of art online when it is just a few blocks from their house. Changing the way you walk home everyday fills life with surprises.
For me, the gallery legitimates the art production and helps build collections. I don't think an artist should do everything by himself forever. I did it for years and then slowly built my circle of trust.
When you're in New York, people don't say, 'We're happy you came to New York.' In D.C., people thank you for coming here and bringing art here.
But I am a lover of all kinds of art. And I just can't stick to one thing. I guess I could if I made myself, but I'd always be looking the other way, for other things.
Jazz is known all over the world as an American musical art form and that's it. No America, no jazz. I've seen people try to connect it to other countries, for instance to Africa, but it doesn't have a damn thing to do with Africa.
