China Quotes

I have always found that if, while creating an artwork, the artist constantly feels that some accident would occur if he is not careful, then it is a very significant moment and a significant work.
I lived in Japan for eight years before moving to New York, but I was looking forward to a place like America to change my opinion on things and force me to come up with new perspectives.
I tend to be cautious and rational, prone to keep everything under control.
I was growing up in a society that exerted a lot of control on people, and from both my personality and the social condition, I found gunpowder gradually as a very suitable medium for exploration.
I'm always oscillating between if I should sprinkle more gunpowder or less. But if I put too much gunpowder, there may be holes throughout the silk. If not enough, the power and energy would not be shown.
In any country, in any city, there will be political influence on what is said, what kind of images are to be projected and, yes, of course artists can be and are influenced by politicians.
In my own art, I try to use my personal voice and effort to enable some Chinese people to see the possibilities of another kind of China. A more open China.
In Quanzhou, I have a lot of influence from superstition. I would go to the temple with my grandmother and mother. That is why I have a lot of curiosity about the unseen force and invisible things.
Many artists, when they are creating art, are searching for a vehicle that can manifest a feeling they have inside of themselves.
My father was also a painter - actually, a traditional Chinese painter. His personality is pretty timid and cautious. Like him, I was growing up as a cautious kid.
My work is like a dialogue between me and unseen powers, like alchemy.
One reason I chose gunpowder is that I had the good luck in my environment to be exposed to gunpowder. The other reason is I was always looking for a visual language that goes beyond the boundary of nations, and so I found gunpowder.
Only an idiot would open an exhibition saying, 'Look at my awesome work.'
Only individual creativity can bring about real social development.
Temporality and the transformation of energy are two very important aspects in my work.
The boyhood dream of becoming a painter stays important to me.
The role of art in society is not to resolve conflicts; rather, it is to express these conflicts and antagonisms.
Through art, through people working together and building relationships and trust, people can overcome the problems of politics.
Using gunpowder as a medium became a way to liberate myself.
When I was young, I didn't want to do traditional painting and calligraphy. I deliberately wanted to separate from my father so I could feel I existed myself.
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AuthorName
Abdoulaye Wade
Profession
Statesman
BirthDate
29 May, 1926
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