A Quote by Marina Abramovic
I am not a therapist. I am not a spiritual leader. These elements are in the art: it is therapeutic, spiritual, social and political - everything. It has many layers. But art has to have many layers. If it doesn't, then forget it.
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I am very much into politics, but what interests me is sacred principles applied to that area. You know, many people are interested in alternative health who are never going to become doctors, or practitioners. That is how I am about politics. I am interested in the intersection of the Spiritual and the political - how spiritual principles apply to the social and political issues of our day. For me, the spiritual realm, is a more powerful place to speak from on those issues.
If art made you think, then this was Art. Staring at the ball, made of layers and layers of cloth, I wondered about the glass marble at its heart. What if you wanted to reach that marble? Make sure it was still whole? You'd have to remove the layers. You'd have to risk breaking the ball for a chance at freeing it. Fear, knowledge, certainty - you'd have to be willing to let them all go.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
I am rather partial to Shakespeare, though I haven't done loads. But when it's done right, there's nothing like it. There are layers upon layers upon layers, and you unpack new things constantly. I don't know how he knew so many things - about the world, about women, about human nature, life, death, our fears and hopes.
I think humans are fascinating in general. We're so weird. We do so many quirky things, and we don't even know it. There's just so many layers upon layers of nuances in everything we do, and the most fun part as an actor is trying to get into all those nuances, whether they're conscious or unconscious.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
Basically, art should remain something that is complex, that has many layers, so there's always a possibility to reconsider things and have a different perspective. It's not just an advertisement with one single message that has some authority, political or not.
I am doing characters that have so many layers. And I am very lucky that I show a lot of variety.
I am such a complex person. I have so many different layers of my personality to choose from. I am super-sensitive, and I am super-strong.
I love to design. I am a commercial fashion designer. I always design jackets with two sleeves. I don't design jackets with three sleeves, or the layers and layers come off like little dolls from Russia. Fashion for me is a creative endeavor, but it is not art for me.
'Vikings' has been so many different challenges, and some of that is, at times, you have to be big and imposing and violent and vicious, and then you have be pulled back and withdrawn and just more layers and more time to portray those layers, too.
I am committed to my art. I believe that all art has as its ultimate goal the union between the material and the spiritual, the human and the divine. I believe that to be the reason for the very existence of art.
I'm a woman designing for women, and there are so many layers to that. On the one hand, it brings an effortlessness, but it also means that I think and overthink every detail, whether it's physical or mental or even - in some sense - spiritual.
You have so many layers, that you can peel away a few, and everyone's so shocked or impressed that you're baring your soul, while to you it's nothing, because you know you've twenty more layers to go.
I collect paint like I collect sound. And then I use layers, layers, layers.
The task of art is to take hold of the shining, the radiance, the manifestation, of that which as spirit weaves and lives throughout the world. All genuine art seeks the spirit. Even when art wishes to represent the ugly, the disagreeable, it is concerned, not with the sensory - disagreeable as such, but with the spiritual which proclaims its nature in the midst of unpleasantness. If the spiritual shines through the ugly, even the ugly becomes beautiful. In art it is upon a relation to the spiritual that beauty depends.
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