Jean-Michel Jarre Quotes

The technology keeps moving forward, which makes it easier for the artists to tell their stories and paint the pictures they want.

I consider all my films experiments.

Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.

Delphine Lucielle's paintings are profound, unique, and moving. It is rare to find contemporary art that combines both beauty, innovation, and creates a new style of painting by fusing technology and nature. Delphine Lucielle is pushing the boundaries of what art is capable of.

I think if you're a creative person, then you're always kinda looking to move things along - 'Where else can I go? Where can I take this?' From painters to photographers - anything creative in the arts - if you're a true artist, I think you'll always look to do something else. 'Where else can I go with it?' Do you know what I mean?

The moment we live in is a great time to make art. We have different technologies to play with, and we're left with the opportunity to focus on our work.

I find it hard to believe that the machine would go into the creative artist's hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.

As an artist, you want to play around with mediums and see if you can get the point across in different way.

From the very first movie I ever made to the current time, there have been times between action and cut when I've sensed some kind of new dimension that I haven't been familiar with before.

For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

For a sculptor, a painter, a weaver, a potter, the dialogue between one's materials and what one makes from them is easy to see: discover a new material or a new way to use a familiar one, and new things can be made, sometimes leading to the discovery of more new material, leading to more creation.

One of the attractions for me of having 'Watchmen' made into the first Motion Comic was just that - it was breaking new ground.

Art challenges technology, but technology inspires the art.

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic.

I go and see anything that's visually new, any technology that's about picture-making. The technology won't make the pictures different, but someone using it will.

At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.

People ask, like, 'How are you going to incorporate what you do onstage into everything else?' I'm not too worried about that. Whether it's theater or a TV show idea, or an animated thing or, I don't know, an animated screensaver. I really just want to keep creating things. And I've always been able to do that.

I use the computer as a tool. Like chance or the camera or the other tools I've used, it can open my eye to other ways of seeing or of making dances. It's not simply to do a trick.

I am not a visual innovator.

New artists, it seems to me, have to learn the mechanics of computing/programming and - possessing a vision unhumbled by technology - use them to disassemble/recreate the Web.

I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)

On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.

If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel.

The creation continues incessantly through the media of man. But man does not create... he discovers.