Cornelia Parker Quotes

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I think design means, for me, almost when man, back in time, decided to do something conscious. You know... to shape something and make something different from just using things that were lying around. So whoever designed the wheel were onto a good thing.

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.

There's only a couple of coffee cups I'll use, because I like the way they feel in my hand. I realise I've got lots of others, but I won't use them because I just don't like... the thickness of the ceramic is too much, or the glaze isn't right.

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.

I went to a quite macho art school in the 1970s, and while everyone was making hulking big sculptures, I was making things out of bits of paper.

I think it's quite obvious my work is made by a woman, because I have never wanted to make anything that is not ephemeral. But I definitely want to be thought of as an artist first.

I take things that are worn out through overuse, that have become cliches - like the shed, a traditional place of rest and retreat - and I give them a more incandescent future.

My work has threads of ideas from all over the place. I try to crystallise them in something simple and direct that the viewer can then take where they want.

I was selling bric-a-brac in Portobello and Camden Market. I love objects. But I was embarrassed by the idea of collecting, so I began using these things in my art.

I'm from a working-class background - I had free school meals all my life and then spent six years in art school.

Product design is fed by the avant-garde.

My iPhone has always been my sketchbook.

Who thought it would be a good idea to undermine art in the school curriculum? Who thought studying the history of our visual culture was a waste of time? Who thought that only private schools should have that privilege? Was it someone who said we don't need experts?

If it is good enough for Prince William and Kate, why is studying art history not good enough for the masses?

Our cultural industries are our biggest export, our biggest manufacturing base. Every pound spent on art education brings disproportionately large returns. It's the biggest bang for our buck. If it ain't broke, don't fix it. In fact, the more you put in, the greater the successes for the U.K. economy.

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.

I was very physical as a child - we lived on a smallholding, and I was always outside making mud pies or building structures up trees.

I didn't make any money out of my art until I was in my 40s, but it preserved my sanity and my freedom.

Art and creativity are crucial, whether you're a mathematician, a scientist, or an artist.

I'm trying not to go through that midlife dip that artists tend to have.

I don't mind getting older; I just don't want to be in pain.

As you get older, things don't work as well. I do Pilates, and that helps.

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