Bill Viola Quotes
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Revolution is something that actually starts in individual hearts.
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Art is, for me, the process of trying to wake up the soul. Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.
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I spend a lot of time writing. I get inspiration from texts rather than images.
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The world is fine and everything is normal and then, bang, you just get bowled over by the wrathful deities somehow. That happens in very small ways and happens in very large ways when you have a major conflagration in the world. It's another cycle of existence of human beings.
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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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There's another world out there just beyond the world we're in. It's just on the other side of that translucent, semitransparent surface.
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The future art historians are going to be software guys who are going to go into the depths of the code to find out what was changed hundreds of years before.
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The very first video experience I had was in high school. They brought a black-and-white closed-circuit surveillance camera into the classroom. I will never forget, as a kid, looking at that image.
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Vision connects you. But it also separates you. In my work, and my life, I feel a desire to merge. Not in terms of losing my own identity... but there's a feeling that life is interconnected, that there's life in stones and rocks and trees and dirt, like there is in us.
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In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.
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I would prefer to be forgotten, then rediscovered in a different age.
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When I started in video I was one of two or three dozen video artists in 1970. And now, to paraphrase Andy Warhol, everyone's a video artist. Video, through your cellphone and camcorder, has become a form of speech, and speech is not James Joyce. It's great, and to be celebrated, but it has to find its own level.
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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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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.
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I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
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One of the most important things for me in terms of my working method is doubt. I get very insecure about my ideas. And I don't say 'insecure' in kind of a paranoid way. I mean just: 'Are they good enough?' 'Is this the right thing to do?' I really beat myself up over that.
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I cry a lot. Usually once a day. I think it's one of the most profound forms of human expression.
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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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Video artists being at the low end of the totem pole economically, one of the ways we survive is to go around showing work and giving these talks.
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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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Since the time of St. Jerome, it was mandatory for any kind of scholar or thinker to spend time out in the desert in solitude. It's no coincidence that the desert has been a major part of the visionary or mystical experience from the beginning of time.
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If you look at landscape in historical terms, you realize that most of the time we have been on Earth as a species, what has fallen on our retina is landscape, not images of buildings and cars and street lights.
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When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.
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There is a big push that we all are engaged in, in wanting to have the newest in innovation - and I think that's all really great. But I also feel that human beings need to be aware of, and grounded in, history.