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I'm getting more and more into Chinese art and Japanese, some of those scroll paintings are amazing. You follow the change of the seasons. It's really something. These guys were great masters and of course the use of space.

Robert Barry

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More quotes by Robert Barry

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I shoot a lot of video, first of all, whatever I think is interesting, just my travels hard to say why. If something looks good, I take a picture or try to shoot it.
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The idea of words and photos was something that appealed to me.
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I certainly don't believe that people can read other people's minds.
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I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.
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And we live in a kind of realm of language and words and so forth. So we can sort of relate to them. They don't exist without us. We create words.
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I just try things and whether people like it or if I find it successful or not, I just do it.
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I like working late at night and then going into the house and sitting down and watching a movie and then going to sleep.
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You can't make somebody care about what you're doing. Either they get it, either there's that connection - or they don't.
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But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.
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And style, by the way, is a very important thing. It is like your signature, your handwriting or it is something that you develop that is your way of presenting yourself and also your way of looking at what art - of how to make art.
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I was always - I was a movie nut. I lived in the movies, really.
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I am very easy. I like to have my work out. I am not restrictive about any of that. It is the collectors that are possessive, not me, not me.
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People ask me why I use words and the reason, of course, is that words talk to you. I mean, they're something that are generated inside of you and that you can relate to you.
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I made films from the - when I was a little kid, my father bought me a movie camera. I just wanted to. I don't know how. You just learn, you just do it. You just do it.
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I was at one point thinking about being an art historian, when I was in school. And not being an artist, but I decided I was going to be an artist but I'm really mad for art history and the masters mostly.
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How does any idea come to your mind? I don't know.
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I don't have a dream project. I don't really think in those terms, to tell you the truth.
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I try to create a kind of dynamic thing that hopefully some people will become interested in. And what they do with it after that is sort of up to them. But it's a specific item, it's a specific thing that I've done. And what they do with it is their problem.
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I went to Our Lady of Mercy, parochial school and I started Fordham Prep, but that only lasted about a year and then I - to me, it was like going to some kind of concentration camp. I was not very happy. And I only went there because that's where my brother went, really.
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The notion of a thing, materiality, was something that I think was something very in peoples' minds when they were dealing with earth and metal and different kinds of metals and the interaction of different sorts of material.
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