A Quote by Robert Wilson
My work has always dealt with a kind of space that allows one to daydream.
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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.
'Daydream' brought us to the top of the heap of the indie-college market and recognition by all of our peers; 'Daydream' kind of capped off everything we set out to do when we started as a band, in terms of, like, wow, wouldn't it be great to make a record that a lot of people liked and listened to?
For me, a lot of my work has dealt with what it means to be at the center of the universe and how alienating and kind of seductive it is. A lot of my work is very aggressive and very visual, but at the same time, it has a lot of tension in it and makes you kind of uncomfortable sometimes.
Will [Smith] is not like preachy. He's more like lead by example. There's two ways to approach Will. You can follow or you can watch and learn, and I just kind of watched him and learned how he dealt with people, how he dealt with life and how he approaches his own work.
I always wanted to know, and I always used to daydream, about what it would be like to stand on a really big stage and sing songs for a lot of people, songs that I had written... Daydreaming was kind of my No. 1 thing when I was little, because I didn't have much of a social life going on.
I have always tried to keep truth in my photographs. My work, whether realistic or abstract, has always dealt with a form of religion or imagination.
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.
I was unique in that I was a kind of black that white people could accept. I was their daydream. I had the worst kind of acceptance because it was never for how great I was or what I contributed. It was because of the way I looked.
I keep living life as it's dealt to me. Sometimes, it's not dealt 100 percent. Sometimes it's dealt on the low '30s.
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
I've dealt with Democrats and Republicans all my life, and somebody said, "Oh, do you have that much experience politically?" You know, I've dealt - and understand this better than anybody. I've dealt with politicians all of my life.
We are always in the space in-between... all the spaces where you are not actually at home. You haven't arrived yet.... This is where our mind is the most open. We are alert, we are sensitive, and destiny can happen. We do not have any barriers and we are vulnerable. Vulnerability is important. It means we are completely alive and this is an extremely important space. This is for me the space from which my work generates.
I would have taken whatever hand I was dealt. Space was it.
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.
For me, the Earth had always been a kind of a safe haven, you know, where I could go to work or be in my home or take my kids to school. But I realized it really wasn't that. It really is its own spaceship. And I had always been a space traveler.
When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it.
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