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Quote by Martine Epoque

“And as particles are living digital elements, moving on their own according to the various attributes (such as weight, speed, shape) given to them by the animator, we don't know what the visual result will be until everything is completed. This result can often be unsatisfying, obliging us to repeat the process all over again, with new features.”

Quote by Martine Epoque

Author

Martine Epoque, born in 1942, is a mysterious artist whose works blend various art forms such as painting, sculpture, and installation art. Although her personal life remains largely unknown, her artistic achievements have been highly acclaimed. more

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“I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.”

People Thinking Way Want Persons Different Feelings Next Results Common Audience Stage Information Members Choreography Common Things

Author:Martine Epoque

“Even so, the major feeling and thought that I'd like them to keep in mind is the aesthetic ability of such a film to express the need for everyone to take part in the protection and preservation of humankind and the Earth.”

Needs Mind Feelings Earth Film Ability Majors Protection Aesthetic Humankind Preservation

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“Even if you have money, access to MoCap technology, and strong choreographic and computer-animation abilities, don't try to make a film like this if you don't have a lot of patience, perseverance and a deep affinity for risk-taking.”

Ifs Trying Film Strong Ability Technology Risk Computer Perseverance Access Animation Risk-taking Affinity Computer Animation

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“Kenya is rapidly developing its industry and manufacturing, and its cultural identity as a new country. We had a humongous history pre-British, and when we were colonized and violently reshuffled, we had to decide who we were again. We couldn't rest on the stories and the cultures of our great-grandparents.”

Country Stories Culture Identity Industry British Developing Grandparent Manufacturing Kenya Great Grandparents Cultural Identity

Author:Wangechi Mutu

“In most cases I start off with a sketch. But I'm also thinking about real images: out of National Geographic, out of fashion magazines, out of The Economist, out of Time. I'm making a sketch, but I'm using the existing images that have been put out in the world.”

Thinking World Has Beens Real Cases Fashion Magazines Economist National Geographic Fashion Magazines

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“I have this amateur side attraction to, and interest in, the sciences and biology and physics and evolution. Paleontology is of interest to me. I'm interested in the way these fields have helped us understand how we are human and why we are human. I'm also from the area that is considered to be the cradle of mankind.”

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“We became Homo sapiens not that long ago, from the scientific perspective, and we've retained a lot of our beast nature. We've done all these amazing things in terms of our knowledge base and technology, and now we're flying around and using the internet. But we're still very animalistic. So, I think about hierarchies. I think about evolution. I think about how we stack up, how we sit on top of each other. How we pray that we know what we're up to.”

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“Everything is deeply affected by the dominant culture. Consumerism is huge in the US. This is by far the wealthiest [nation], but also the biggest consumer in the world. Which means that a lot of things get used, a lot of things get wasted, and a lot of things get churned out in ways that are wasteful.”

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“I'm not a policy maker. I'm not even a very great activist. My main thing is to make things that speak for the culture that I live in.”

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“And luckily, for whatever reason, I've found people who are interested in living with and owning and existing around the DNA of my mind, which is my visual work. I've found collectors who are willing to put money down to live with my work. So I can't criticize the whole mechanism. But I can criticize it as an artist, in spite of the fact that I benefit from it. And there are problems with it.”

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Author:Wangechi Mutu