A Quote by E. J. Hughes

As you can see, at my age - 48 - Art is still one big experiment. — © E. J. Hughes
As you can see, at my age - 48 - Art is still one big experiment.
Experiment - exercising to see the result. We planned Europa not as an experiment in this sense but as a work of art. Yet The Eye and the Ear was done as a consciously designed experiment. Not every avant-garde dealt with experiments and not every experiment equalled avant-garde.
Experiment is actually doing the art. That's the experiment and then you get to experience the experiment.
So, you're seeing the Rolls-Royces and the Bentley's still selling for big prices. You're seeing jewelry still selling, art works at auction. There was a diamond that sold for I think 38 million, 48 million, something like that just a week ago. So prices are back up to their highs, getting stronger and more and more people seem to have more and more money to spend.
Theory said one thing and the experiment said something different, so that was the stimulus that started me going, that there was something there to be explained, which wasn't understood and to try to see why that experiment gave the answer it did, so it was a big opportunity for a young student starting to have actually an experiment which contradicted the theory, so that's was my chance to understand that.
Experimental science is a craft and an art, and part of the art is knowing when to end a fruitless experiment. There is a danger of becoming obsessed with a fruitless experiment even if it goes nowhere.
I once wrote that Black Americans are involved in an intriguing experiment to see if an oppressed minority can continue to march forward if there is not a strong and vibrant left-wing and radical movement. That's not an experiment I would recommend, although the story is still unfolding and we will see how it unfolds, but they are not the sort of conditions in which an oppressed minority should have to struggle.
Some kids my age experiment with drugs, I experiment with music.
I see my whole 20s as a massive experiment. So were my teens. I think the problem is that we're not encouraged to experiment; we're encouraged to decide and choose, be singular and focused. You can't be that until you experiment. You don't know what's going to work until you try it.
I don't want to see an experiment. Experiment at home - when you show up on stage, I want to see a result. I think a lot of improvisers, you'll see them some nights and they just stink, and they go, "Well, we're just improvising." Like that's a license to have a shitty night!
You may not think I'm a sex symbol, but I became a father at the age of 48. Now young people think of me as a mini-folk hero because it's difficult for them to believe a man of my age is sexually active.
I train to play 48 minutes per game or 48-plus when needed.
[May 1958, on playing Macbeth at age 30 and age 48] When you're a young man, Macbeth is a character part. When you're older, it's a straight part.
Art-making was part of my daily life from a very young age, and I still love that kind of everyday art-making.
Relevance is a big, big question. It's more about what's your definition of being relevant. In the music world, agism is a big issue. It's about youth and youth culture. There's no other art form that I know that requires you to be a certain age.
If it's me against 48, I feel sorry for the 48.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.
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