I always did drawings. Then, few years ago, I started working with large-scale paper. It's an extension of performance, because the pieces are the size of my full body. I use pencils, acrylic, watercolors, and I also incorporate textual messages.… — Rebecca Horn Copy Share
Sometimes I go to sleep thinking, "I don't like this painting." But then I wake up in the morning, look at it again and… — Rebecca Horn Copy Share Image
I met Méret Oppenheim when I was a very young artist just coming to New York. She really liked my early films and showed them in her beautiful old cinema in Bern, Switzerland when I didn't have the money to go back. But, "fear-love," this really means "shy love." It's about holding something back. With Méret, there was nothing oppressive… — Rebecca Horn Copy Share
Of course at that time, especially here in America, we were dealing with women's liberation. Things weren't so easy then. Méret Oppenheim wasn't so… — Rebecca Horn Copy Share Image
You try not to talk about the past too much as an artist. Instead, you focus on the continuity of your work. — Rebecca Horn Copy Share Image
I always did drawings. Then, few years ago, I started working with large-scale paper. It's an extension of performance, because the pieces are the size of my full body. I use pencils, acrylic, watercolors, and I also incorporate textual messages. I did most of them in a monastery in Spain at the top of a mountain. I lived there a… — Rebecca Horn Copy Share
Méret Oppenheim was a very erotic woman. She also liked provocation, and if you could provoke surrealists at the Cabaret Voltaire in Zurich, or… — Rebecca Horn Copy Share Image
This idea of the body as a feast, it stems from Giuseppe Arcimboldo, moves to Viennese artists like Günter Brus, and then you have… — Rebecca Horn Copy Share Image
Méret's Oppenheim art was aesthetically beautiful. Drinking champagne and eating a cherry off some tits, this is no big deal really. — Rebecca Horn Copy Share Image
