Top 114 Quotes & Sayings by Cornelia Parker

As you get older, things don't work as well. I do Pilates, and that helps.

I was selling bric-a-brac in Portobello and Camden Market. I love objects. But I was embarrassed by the idea of collecting, so I began using these things in my art.

Violence is part of everybody's life, whether you like or express it or not. My work utilises all the energies that I have, and part of it is violent, and I'd rather it be out than in.

As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.

I take things that are worn out through overuse, that have become cliches - like the shed, a traditional place of rest and retreat - and I give them a more incandescent future.

I'd love to do something like put a piece of moon rock on Mars and a piece of Mars on the moon, a sort of reverse archaeology.

I didn't make any money out of my art until I was in my 40s, but it preserved my sanity and my freedom.

If people say, 'You can't do that,' you can be sure I will do my utmost to do it.

I was involved in a serious accident driving in torrential rain at midnight in Cardiff. I was only doing five miles an hour, but because I couldn't see very well, I crossed a junction and collided with another car that was driving very fast. I ended up in hospital for six weeks with a shattered pelvis.

I don't drive for pleasure. It's purely to get from A to B.

I am 5ft 10in. I got my height from my dad, who was very rangy. I like being tall.

The idea of going off to an office every day and 'putting on my art hat' doesn't appeal.

A lot of my work has been about stuff I've been frightened of: cliffs, explosions, meteorites, that kind of stuff. I would have been this trembling blob of fear if I hadn't got into making art, which is a good way of deferring it.

I don't read the art mags. I read the newspapers.

Paul Auster is my favourite writer, and I'm sure he'd be a very interesting person to share a journey with.

I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.

I think your subconscious knows far more than your conscious, so I trust it.

I am not a propagandist; my work has often had a political dimension but, hopefully, one that is not didactic and is open to interpretation.

You don't have to have angst to be an artist, but it's grist to the mill. If you want to explore the whole emotional spectrum in your work, it helps to have experienced intense emotions.

I think design means, for me, almost when man, back in time, decided to do something conscious. You know... to shape something and make something different from just using things that were lying around. So whoever designed the wheel were onto a good thing.

Art and creativity are crucial, whether you're a mathematician, a scientist, or an artist.

I need eight hours of sleep, but I never get it except at weekends.

I don't want my work to be issue-based. I want people to be able to read it in lots of different ways.

My mother became mentally unwell with schizophrenia when I was in my teens... We couldn't watch television because she thought the people on TV were sending her messages. She thought there were hidden cameras everywhere, so we had to have the curtains drawn.

I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.

I don't want to feel like an ambulance chaser, but very often, when I hear about a fire, my first instinct is to make a piece of art out of it.

I'm trying not to go through that midlife dip that artists tend to have.

At my degree show, someone said, 'It's nice, but it's very feminine.' I said, thank you, taking it as a compliment, but they obviously meant it as an insult.

There's only a couple of coffee cups I'll use, because I like the way they feel in my hand. I realise I've got lots of others, but I won't use them because I just don't like... the thickness of the ceramic is too much, or the glaze isn't right.

At times, I've been incapacitated by anxiety and unhappiness. You really know what joy is if you have experienced the opposite.

I think it's quite obvious my work is made by a woman, because I have never wanted to make anything that is not ephemeral. But I definitely want to be thought of as an artist first.

I'm from a working-class background - I had free school meals all my life and then spent six years in art school.

I can consciously say I like squashing things because I saw 'Tom and Jerry' films or Charlie Chaplin in 'Modern Times.' That's true.

If it is good enough for Prince William and Kate, why is studying art history not good enough for the masses?

Product design is fed by the avant-garde.

My father was a very controlling man, and it was a big relief to get away from that.

I have always had a bob haircut because my hair is so fine and doesn't like being long.

I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.

Some people separate their work and home lives, but I love the idea of having my studio and house in the same space.

Dust, in the end, settles on everything.

I started doing sculpture rather than painting. I was halfway through my degree, and I hadn't really done any introduction courses in sculpture... I'd missed all the technical stuff. I didn't really know how to weld or forge or carve or model. I'd sort of evaded all those technique classes, so I had no technique.

Jeremy Corbyn makes me angry. He seems vain.

Maybe it's my Catholic upbringing - I grew up thinking that Armageddon was just around the corner - now I know it is, with global warming and all. I can keep it at bay by doing the work. It's a sort of reverse sympathetic magic. I'm always doing it so it doesn't happen to me.

Artists and scientists are very close. They always have been, but I think we've just been divided out over the last few centuries into specialisms. Leonardo da Vinci was drawing helicopters and all kinds of things. We're artificially divided. I think we're closer than we think we are.

Who thought it would be a good idea to undermine art in the school curriculum? Who thought studying the history of our visual culture was a waste of time? Who thought that only private schools should have that privilege? Was it someone who said we don't need experts?

If I'm not doing the work I want, I usually suffer a psychological allergic reaction and get ill.

Our cultural industries are our biggest export, our biggest manufacturing base. Every pound spent on art education brings disproportionately large returns. It's the biggest bang for our buck. If it ain't broke, don't fix it. In fact, the more you put in, the greater the successes for the U.K. economy.

What was the most important thing I learned from Chomsky? That capitalism compels us to work ourselves to death in order to stuff our houses with things we don't need. Perhaps this is one thing art can do: create a new aesthetic, one of austerity.

I want to make work that reflects different times and processes.

Design impacts me in everything I do. Because, as I say, everything I own is designed. So the building I live in, the objects I choose to boil water in for example, even drinking vessels.

I always feel my work is a chemical reaction between me and the world, wherever I happen to be.

My father wanted a boy badly and didn't get one, so I was happy to be the surrogate boy. I was very strong, always doing manual labour.

I was very physical as a child - we lived on a smallholding, and I was always outside making mud pies or building structures up trees.

My iPhone has always been my sketchbook.

I feel our relationship to life, to the rest of the world, is very tenuous. It feels fleeting.

Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'

I don't mind getting older; I just don't want to be in pain.

I think my work is like a spiral: you keep coming back on yourself, but you're at a different place. It's like reading 'Nineteen Eighty-Four' every five years. You realise that some things have caught up.

My work has threads of ideas from all over the place. I try to crystallise them in something simple and direct that the viewer can then take where they want.

I do think there is a link between the accidental art the sciences produce and the deliberate art the artist creates, but I can't help feeling that the innocence of the accidental art of science has a power and curious beauty that artists are hard-pressed to match.