Christo Quotes
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All our projects are like fabulous expeditions. The story of each project is unique. Our projects have no precedent.
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And for me, the real world involves everything: risk, danger, beauty, energy, all we meet with in the real world.
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Our work is a scream of freedom.
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We tell them that we believe it will be beautiful because that is our specialty, we only create joy and beauty. We have never done a sad work. Through the drawings, we hope a majority will be able to visualize it.
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I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
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The decision to use only the name Christo was made deliberately when we were young because it is difficult for one artist to get established and we wanted to put all the chances on our side.
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And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.
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Therefore, when we arrive in a place and talk to new people about a new image, it is very hard for them to visualize it. That's where the drawings are very important, because at least we can show a projection of what we believe it will look like.
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To keep that absolute freedom we cannot be obliged to anyone.
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We wish to work in total freedom.
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Often the art in New York is related to the buildings, to grandiose things.
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Because we do not sell photographs, we have no royalties on books, posters, postcards.
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The other exception where we did not at all restore the place to its original condition is the Surrounded Islands. Before we installed our fabric, we had our workers remove 42 tons of garbage off the beaches of those islands. We never brought the garbage back.
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But now, today, we don't know if Over the River is truly the next project to be realized, because something very nice happened to our life in November in New York.
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The only place where people in Manhattan walk for leisure is in the park.
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It appears to be monumental only because it's art.
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We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
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It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.
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That could stay, not forever, because we believe that nothing exists that is forever, not even the dinosaurs, but if well maintained, it could remain for four to five thousand years. And that is definitely not forever.
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We never work on only one project because we never know if we will get permission for a project. So, for 'Over the River,' we started in 1992. I was just finishing 'The Umbrellas' in Japan and California, and I was also working on getting permission to wrap the Reichstag.
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Germany is an economic giant but a political midget, and with the end of the Cold War she has started to muscle her presence throughout Europe and the world.
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Now, there is no way to say how long some projects take, that's our principle.
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We are probably the only artists in the world who have a 2,000-page book on a work of art that doesn't exist. But in this way, these projects reveal their identity through this whole process. When I'm starting, I only have the slightest idea of how the work of art will exist.
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And the most unusual and surrealistic place in New York City is Central Park.