Best 25 quotes of Camille Henrot on MyQuotes

A lot of my work deals with this emotion of discouragement or fear, and this emotion cannot be approached without humor because then things become indigestible. You don't want to eat them; you don't want to be in contact with them.

Art has to maintain as large a space for interpretation as possible, and to protect itself from being too narrow.

Baroque sculpture and interior design has a quality of creating an environment that seems organic because it's full of curves and details, like a forest.

Basically, art should remain something that is complex, that has many layers, so there's always a possibility to reconsider things and have a different perspective. It's not just an advertisement with one single message that has some authority, political or not.

Daily life is both the subject and environment of the work I am making.

For me, it's really important that the experience of art is always something that is able to provoke strong emotion, an emotion that you feel in your heart or your stomach, but also that challenges the brain at the same time. It's an experience - physical and intellectual.

For me, it would be very difficult to express an opinion about our times without humor. I don't think you could do that.

I felt like if I was on Facebook, I would probably spend my days looking at people's profiles, seeing what they do, and feeling bad about not working enough.

I know that Instagram belongs to Facebook, so I cannot really stand on a political pedestal and say, "I'm against Facebook!" But I haven't wanted to be on Facebook from the beginning.

I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.

I'm interested in making works for museums in a way that make the space feel domestic, and I'm always thinking about how this work will be part of someone's daily life.

I'm spending a lot of time in the Palazzo and in the museums. I'm printing [pictures that I take] and making a binder with a mix of internet research and palazzo research that I'm planning to use for the upcoming works.

I'm working on new techniques. I'm trying to find a way to make fresco that can be detached from a wall, and I'm trying to find new people who can help me work on a very large scale in bronze.

In a way, the political cartoon drawings are things that are small and have humor and a childhood aesthetic and are often stronger to spread an opinion.

In fact, the underlying principle of the baroque is the idea of transformation, of movement, and animals becoming man, and man becoming animals, and mythology. It was a way to inspire pre-Christian character.

In the traditional Ikebana things always have to be asymmetrical, because in this they look more natural and balanced.

I think art must be the place where you are protected from the logic of the outside world.

I think humor is often a very powerful tool to be able to express ideas that are heavy.

I think my work is about the different strategies man has invented to deal with desire, frustration, fear of death, exhaustion. It's very much about life on earth.

I want to experiment with new techniques and become a "traditional baroque artist.

One of my assistants was on Instagram and showed me how it was working. I thought it was playful, the way you go through images, a little like cinema. It's a bit like a filmstrip that's animated by your finger.

Religion is in every aspect of art, when it's not baroque.

The political cartoon, in a way, is one of the highest forms of expression about our times. I don't believe in dramatic statements when it comes to political critique. It doesn't communicate in a way that's subversive enough.

What I like about baroque is the reemergence of pre-Christian religion. The art of baroque mixes ancient pre-Christian myths with Christian imagery and each reflects upon the other.

When I think about the reference to baroque, I'm most interested in how art was integrated into domestic life. That's why I like fresco, because fresco is part of the wall. It's art, but it's decoration at the same time.