Doug Aitken Quotes

#1. I am fascinated by the indecisive moment and the peripheral view.

Doug Aitken

#2. I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.

Doug Aitken

#3. I think that 'Station to Station' is a nomadic project not only in a literal sense, as it's traveling by train from place to place. Some of these places are New York City or Los Angeles, but some of these places are rather off-the-grid places.

Doug Aitken

#4. I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.

Doug Aitken

#5. I think there is a hunger for things that wake you up, something that makes you peel back your eyes, that reminds you that you are alive. Art is at its best when it is in the 'now.'

Doug Aitken

#6. One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.

Doug Aitken

#7. The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.

Doug Aitken

#8. Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.

Doug Aitken

#9. In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

Doug Aitken

#10. 'Station to Station' is a series of happenings that go across the landscape. What is a happening? A happening is a moment in time. A moment in time that is not choreographed, where you don't know precisely what's going on. Where there are aspects of different layers of culture.

Doug Aitken

#11. I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.

Doug Aitken

#12. I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.

Doug Aitken

#13. We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.

Doug Aitken

#14. I'm really a believer in being in situations that feel new and awkward and different. And I love that feeling of being in motion - that sense you find when you're traveling.

Doug Aitken

#15. I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.

Doug Aitken

#16. The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.

Doug Aitken

#17. In our daily lives, we see ourselves often in very reductive ways. I want to explore motion, change and flux, whether we are looking in the mirror or seeing ourselves in our surroundings. The singular view of self contradicts the act of living.

Doug Aitken

#18. The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.

Doug Aitken

#19. I always thought about 'Station to Station' as an approach. It was about creating an alternative platform for culture where different mediums could co-exist.

Doug Aitken

#20. We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.

Doug Aitken

#21. It's very easy to lose track of the environment around you, to lose touch with the present.

Doug Aitken

#22. Our culture is not this thing to be seen from a distance. We need to be embracing the friction of it all - that is where the energy is.

Doug Aitken

#23. The perfect pop song is a 20th-century creation; it's not a sonnet, it's not an opera, it's something short - three and a half minutes by nature - and has this ability to travel and to defy class and economic structures.

Doug Aitken

#24. We're moving into an era when things are dematerialised and much more holographic. Floating above the physical world and the geographic map, there's another landscape that's constantly changing - something like a cloud - of communication, information, exchange and commerce.

Doug Aitken

#25. The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

Doug Aitken

#26. We are engaging with so many art forms at once in the 21st century, but we're presented with them in a way that is so isolated.

Doug Aitken

#27. I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.

Doug Aitken

#28. I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.

Doug Aitken

#29. We live in a world where art exists in galleries and museums, and musicians have to play the same venues over and over.

Doug Aitken

#30. There's really no differentiation between the work I make and the world I live in.

Doug Aitken

#31. When you make work, the concept is the basis for it; all choices of aesthetics or mediums come later.

Doug Aitken