...it is in the nature of original contemporary art to present itself as a bad risk. And we the public...should be proud of being in this predicament, because nothing else would seem to us quite true to life; and art, after all, is supposed to be a mirror of life.
I feel like when I fight it's an art, and Art isn't supposed to be 'nice', it isn't supposed to be liked. It's supposed to make you feel something.
The word “art” is something the West has never understood. Art is supposed to be a part of a community. Like, scholars are supposed to be a part of a community... Art is to decorate people’s houses, their skin, their clothes, to make them expand their minds, and it’s supposed to be right in the community, where they can have it when they want it... It’s supposed to be as essential as a grocery store... that’s the only way art can function naturally.
Art is supposed to hold up a mirror to its audience and ask, 'What do you believe? What do you think? What do you feel?' and if you look at a painting and it makes you feel nothing, that's a feeling as well.
When I was in school, they say everybody can do art. And I was, like, a little bit obstinate - not an anarchist, but I was always asking questions. I said, 'Isn't art supposed to be difficult?' If we can all do art, then it's not really art. It's supposed to be difficult.
I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
Now the culture is made of old things, it's a collage. Art made out of art is not art. You're supposed to make art out of life.
It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art.
To a certain extent, just like my children, I nurture my writing until the point when it has to get out and face the outside world, where it takes on a life of its own. That is a purpose of any artist and their art.
I want my whole life to be a great work of art, not just my art. And that means paying attention to my entire life and trying to make sure my whole life is balanced.
"Art Imitates life," of course, is that phrase by Oscar Wilde. I called that song "Art Imitates Life" because Oh No was in the studio and he actually came up with that hook. When I was trying to figure out a name for the record, it just kind of made sense.
I spend my time trying to figure art out. I was brought up to believe that the way one processes information is by making it into art. That's how I live my life.
It's very interesting how life imitates art, and art imitates life; I find, whenever I read scenes of some magnitude, I'm like, 'Oh, I feel like I've experienced this,' or 'I am experiencing this,' or 'I might start to experience it soon.'
I feel like life imitates art, or art imitates life. I always take on roles that I'm passionate about.
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy.
People act like art is a white thing - or not for people of colour - when, really, so much culture and art comes from people of colour. I want everyone to get into what I am doing. So sometimes I don't like to work just in an art context because it feels like a lot of people aren't going to see it. I like it to be a part of everyday life.