A Quote by Sunita Williams
The feel of space... Some folks have asked what it is like to work out in space. Yes, you can work upside down, right side up, sideways - anyway you want to to make it convenient.
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There's a huge amount of pressure on every astronaut, because when you get right down to it, the experiments that are conducted on a space flight, or the satellites that are carried up, the work that's to be done, is important and expensive work, and you are up there for a week or two on a Space Shuttle flight. The country has invested a lot of money in you and your training, and the Space Shuttle and everything that's in it, and you have to do things correctly. You can't make a mistake during that week or two that you're in space.
reaking up the space and using the space, using the length of the space, the height of it, whatever, the light, all of those things. It's something that you have to kind of slowly recognize in your work and develop over years of making work.
We're using the space station as a test bed for some of the technologies that are going to enable us to work autonomously in space and hit some of our deep-space exploration goals.
I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.
You have to study composition to understand that things can be done backwards and forwards and upside down, inverted, but it's mainly just an inner valid intuitive thing. Where do you want to go? Ok this is busy, or this needs some space, or this is too much space so now I want to put more notes in there or something. It's all about contrast. High, low. Fast, slow, thick or thin or what have you. And it's the same with improvisation.
Abstract is not a style. I simply want to make a surface work. This is just a use of space and form: it's an ambivalence of forms and space.
Like in the paintings, there has to be moments that are completely right to be able to feel how wrong it is when the space gets flattened or the space collapses. It's the same with the technique in the sculptures: for some to feel really wrong, you have to have parts be really right.
My work at MIT had focused on what we could build in space once we had inexpensive space transportation and industrial facilities in orbit. And this led to various sorts of work in space development.
I asked someone once why he liked Jean-Michel's work and why it was being singled out for acclaim, and he said, 'Because it looks like art.' But then again, art doesn't always look like art at first. The way the space shuttle that lifts off doesn't much resemble the space shuttle as it lands.
The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.
Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
We have spent billions to go to the moon - we go to this lesser satellite called the moon and say we are in space, but we are in space right now; we just don't feel ourselves to be in space. Some forms of art and some forms of spirituality do give us that sense.
I'm trying to manufacture a sleepover feel; like a tree house or a clubhouse. I want people to be silly and play and feel safe and some people, you have to coax them into that space and some people bring me further into that space, even past the point that I wanted to go.
I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.
I feel there is huge potential for India and the U.K. to work together both on the technology space and on the investment space.
In order to be artists we need to be in our studios, in our private rooms... in our private personal space... that sacred protected space, so we can make our work. That's the only work that's worth making, right? That's the place where we can be free enough and vulnerable enough to share what we have to share.
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