English - Artist | 1956 -
My parents were always doubtful about my making a living as an artist. Even when I was up for the Turner Prize, my mum suggested I apply for a curator's job.
Cornelia Parker
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People often want the big dramatic works, not the smaller quieter ones, but I don't worry about how it fits together anymore; I just have to do it. I feel compelled to make a work: it's like an itch I have to scratch, and once it's been scratched, it goes away.
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I try to avoid the 'art world' as much as possible. It's too much about fads and fashions - who's getting the best prices at auction and things like that.
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I think I'm a feminist, hopefully by example. I just feel it's important to do as much as I can as a woman, to the best of my ability.
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I definitely didn't want children, because my childhood was not a very happy time.
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My mother became mentally unwell with schizophrenia when I was in my teens... We couldn't watch television because she thought the people on TV were sending her messages. She thought there were hidden cameras everywhere, so we had to have the curtains drawn.
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Beauty is too easy. Often in my work, I take beautiful objects and do extreme things to them so that they are overlaid with something a bit more sinister and violent.
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I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
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I don't particularly look at other artists when I'm working. But references do come into my work intuitively.
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Art historical reference is like learning to drive a car - you always know how to drive even though you're not analysing how.
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That's the problem with working and living in the same space - my studio is downstairs, so I often get distracted by domestic things.
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The best ideas come out of getting lost.
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