Immersive Art Quotes

Art should create an experience.

On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

I want to make music three-dimensional. I want to make a song also a painting, and a painting also a culinary experience.

I like a painting which makes me want to stroll in it.

Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? ..I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience-and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.

Watching a film should feel like you just tore a hole out of the air and the void caught fire.

So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.

When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.

The reason you do this stuff - comedy, plays, movies - is to be seized by something, to disappear in the service of an idea.

Performance art can involve the audience with taste, smell and sounds not available with electronic media and not practical with conventional theater. This is due to the usually small audience.

I just want to create situations where people forget time.

If you want to get into the shoes of someone, it's not just about seeing and hearing. It is also about what you touch and what you smell. Smell is so specific and so powerful. And this is the beauty of immersive theatre - it's something you cannot get in any other art form. I think this is the real future for theatre.

Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?

The reason for my painting large canvases is that I want to be intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.

Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.

Film is so immersive.

Pollock also... wanted one to be wrapped in the painting.

Many museums are drawing audiences with art that is ostensibly more entertaining than stuff that just sits and invites contemplation. Interactivity, gizmos, eating, hanging out, things that make noise - all are now the norm, often edging out much else.

I prefer music that invents a universe.

I'm trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.

The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.

I want the audience to be so involved in the sweep of the music.

The problem with doing physically ambitious art is that to view it, you still have to be in your physical body.

The best art is realized when you can share the experience of making of it and not just the presentation of it, so that the audience is part of the creation and not just part of the consumption. Then it becomes much more full-bodied and robust.

I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.