Rei Kawakubo Quotes

What a fine line there is between artistry and insanity. There's no formula for it, and I think a lot of people when they're around you - even those closest to you - when you're in that whirl of creativity and you're grabbing those things out of the air, there's no rational process.

If you're a creative person, what inspires you is always changing; it's always shifting.

But my favorite work is always my next piece.

I just happened to start playing music for the conceptual ideas.

The art of an artist must be his own art. It is... always a continuous chain of little inventions, little technical discoveries of one's own, in one's relation to the tool, the material and the colors.

I always conceive a piece as a different set of challenges.

Making a new season for 'Legion' is not something you just switch into. It's not something you do between dropping the kids off in the morning and having dinner at night. That's a retreat into the woods for six weeks with some mushrooms, and trying to come back with the answers.

The artist in me welcomes another opportunity to be creative.

I don't see myself directing the same movie twice.

We're all inspired by what has come before us, but hope to use the inspiration to create our own. That's the artist's journey. It's a pretty amazing path.

When you start with an idea, or something hits you, then you have to follow that through to the end, and it's the following through to the end that makes the pattern. That, for me, is choreography.

I do not repudiate any of my paintings but there isn't one of them that I would not redo differently, if I had it to redo. My destination is always the same but I work out a different route to get there.

I am in a space now where I can try anything; and with Pink Floyd we've always been in a space where we were able to try out anything. I think we were very young then and we were very keen to experiment and try things out. It seems to me that this sort of experimenting is like working yourself towards something and trying to find what you like and what you want.

What I see is teeming cohesion, contained dispersal... For him, to sculpt is to take the fat off space.

In Comme des Garçons, I hardly do any sketches; there's no fittings on bodies, there's no models that come in and say, "Oh, a little bit like this." In the beginning, there isn't even a theme. It's like getting the whole world at your feet - to empty your mind of everything that's ever happened before, to get an empty space.

In drawing, I often think of things as flying buttresses.

I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me.

Photography is solitary and there are lags between seeing with your eyes and seeing through the lens, and then seeing the image on your computer... I often see things after the fact. So there’s a revelatory quality. And this definitely includes a sense of playfulness, because you’re not sure what the consequences are going to be.

My best works are erotic displays of mental confusions.. with intrusions of irrelevant information.

Everyone who enjoys supposes that the tree was concerned with the fruit, but it was really concerned with the seed. -In this lies the difference between all those who create and those who enjoy.

The design process, at its best, integrates the aspirations of art, science, and culture.

We have a process that continually looks back to him for guidance, but it also combines that with a tremendous amount of discovery and invention, as well, because of the demands of the medium and the opportunities of the medium.

An artist always know everything he does, you know what I'm saying, all the record he starts and don't end up in the public and just sit on the harddrive.

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.

I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.