Cornelia Parker Quotes

A lot of my stuff just wasn't saleable. I still don't do private or corporate commissions. It becomes like interior design. I don't enjoy it. The process makes me feel physically sick.
A lot of my work has been about stuff I've been frightened of: cliffs, explosions, meteorites, that kind of stuff. I would have been this trembling blob of fear if I hadn't got into making art, which is a good way of deferring it.
After leaving college, I was in a show called Sculpture by Women where I was asked to talk about my history of victimisation in art, and I genuinely didn't think I had been victimised. Although I obviously believe in a lot of the feminist aspirations, I was wary about being dragged down by the politics of it.
Art and creativity are crucial, whether you're a mathematician, a scientist, or an artist.
Art historical reference is like learning to drive a car - you always know how to drive even though you're not analysing how.
Artists and scientists are very close. They always have been, but I think we've just been divided out over the last few centuries into specialisms. Leonardo da Vinci was drawing helicopters and all kinds of things. We're artificially divided. I think we're closer than we think we are.
Artists and scientists both think outside the box. They've got to come with genius experiments or ideas to expose the most interesting phenomena.
As a working-class girl, receiving free school dinners, I studied art history. Having never had the chance to visit art galleries, I devoured the knowledge, and it has served me well as a practising artist.
As you get older, things don't work as well. I do Pilates, and that helps.
At my degree show, someone said, 'It's nice, but it's very feminine.' I said, thank you, taking it as a compliment, but they obviously meant it as an insult.
At times, I've been incapacitated by anxiety and unhappiness. You really know what joy is if you have experienced the opposite.
Beauty is too easy. Often in my work, I take beautiful objects and do extreme things to them so that they are overlaid with something a bit more sinister and violent.
Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'
Design impacts me in everything I do. Because, as I say, everything I own is designed. So the building I live in, the objects I choose to boil water in for example, even drinking vessels.
Driving a steamroller over an old trumpet or a teaspoon is no more destructive than taking a chisel to a lump of marble already torn from the landscape. But people don't see it that way because marble is considered noble.
Dust, in the end, settles on everything.
Even though people think I am more of a conceptual artist, I am actually very intuitive. For me, it is still a matter of allowing things to naturally rise to the top of my mental pile, and then I make them.
I always feel my work is a chemical reaction between me and the world, wherever I happen to be.
I always love the court fool in Shakespearean times, in Henry VIII's time. The fool can say all kinds of stuff that the other people can't say, so I'm hoping I might take that role.
I am 5ft 10in. I got my height from my dad, who was very rangy. I like being tall.
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