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Quote by Bill Viola

“I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.”

Quote by Bill Viola

Author

Bill Viola, born on January 25, 1951, is a renowned video artist known for his exploration of human emotions and life experiences. His works blend traditional art with modern technology, making a profound impact on the contemporary art world. more

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“Emotions are the key to many aspects of life. They are precisely the elements that make human beings human. I think the fact that emotions have been reduced and put off to the side in intellectual work, particularly in the 20th Century, is tragic.”

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“The fundamental aspect of video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me the essential basis of video is the movement - something that exists at the moment and changes in the next moment.”

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“You are just as qualified as any expert to make a judgment and have a feeling or a response to any work of art.”

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“A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.”

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“A doctor once told me that with crying you aren't sure what its derivation is. If someone comes at you with a knife, you don't cry: you scream, you try to run. When it's over and you're OK, that's when you cry.”

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“The goal towards which the pleasure principle impels us - of becoming happy - is not attainable: yet we may not - nay, cannot - give up the efforts to come nearer to realization of it by some means or other.”

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“Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.”

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“My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.”

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“I'm really interested in the repetition, the discipline, and what happens to me psychologically when I put my body to that extreme place.”

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“With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.”

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