A Quote by Robert Lepage

Making art in big cities is often frustrating and difficult. It's why artists are drawn to smaller places. — © Robert Lepage
Making art in big cities is often frustrating and difficult. It's why artists are drawn to smaller places.
As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.
I think that that's why artists make art - it is difficult to put into words unless you are a poet. What it takes is being open to the flow of universal creativity. The Zen artists knew this.
Working with composers often is a really frustrating experience because you speak a different language and, oftentimes, they take two or three jobs, at the same time. They're difficult and pretentious and they're tormented artists.
The truth is few people “think” big and even fewer “play” big. Why? Because “big” often means big responsibilitie s, big hassles and big problems. They look at that “bigness” and shrink. They’re smaller than their problems. They back away from challenges. Ironically, they back themselves into the biggest problem of all ... being broke, or close to it.
They'll touch you and look at your skin to see if it's paint. I'm not playing. All Russia is not like that. You've got your big cities like Moscow, St. Petersburg. Some cities understand that there are black people. They do exist. But the smaller cities, the little villages, they've never seen it.
Big Government is the small option: it's the guarantee of smaller freedom, smaller homes, smaller cars, smaller opportunities, smaller lives.
We are drawn to artists who tell us that art is difficult to do and takes a spiritual effort, because we are still puritan enough to respect a strenuous spiritual effort.
It is tempting to call for better leadership, but we probably expect too much from the leaders of the nations. Those nations are too big, the connections not strong enough, the commitment to the future not long enough. It is better to look smaller, to our now-smaller organisations, to local communities and cities, to families and clusters of friends, to small networks of portfolio people with time to give to something bigger than themselves. We have to fashion our own directions in our own places.
I think it's our responsibility as artists to not only fight for our art but fight for the communities that are the reason we're able to continue making art, especially since, in Brooklyn's case, we as artists somehow made it 'cool' enough for the bigger money-making industries to start taking over.
In the decades to come, the successful places will tend to be the smaller traditional towns and cities with viable farming hinterlands.
Attempts to juggle domestic responsibilities with artistic production have often resulted in smaller bodies of work, and often works smaller in scale, than those produced by male contemporaries. Yet art history continues to privilege prodigious output and monumental scale or conception over the selective and the intimate.
It's often frustrating when you're a war reporter and you're covering these places that far away. You're frustrated by making stories that people can't connect to in any way. It's hard for Americans to connect to Arabic-speaking Iraqis in refugee camps or Pashto-speaking Afghans in the countryside, and having a character who is a vehicle through which you're allowed to make these relationships really allowed us to gain in an emotional weight that was difficult for us to do any other way to make it all human.
The way our big cities change sucks. The beauty of cities was that they were edgy, sometimes even a little dangerous. Artists, poets, and activists could come and unify and create different kinds of scenes. Not just fashion scenes, scenes that were politically active. Big cities are getting so high-end oriented, business corporate fashion, fashion not in an artistic sense but in a corporate sense. For me that edgy beauty of cities is lost, wherever you go.
Smaller cities, places like Sarajevo, for example, even amid all that destruction there's still so much pride that the [Olympic] games were there and that they did it.
Artists tend to be people of strong character and opinion. Often they are dismissed in our culture if they don't fit a certain mainstream media mold. It's a reason why filmmakers are now releasing films online. Art, in any form can invoke various emotions and actions. I think some can be frightened of the power that a simple image can invoke and that's why they tend to shy away from it. But art documents moments in our history and that image is often what many people remember of a certain time.
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.
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