"My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration"
About this Quote
Egoyan’s line doesn’t romanticize art as self-expression; it frames creation as an ethical counterstrike. “My parents taught me” plants the impulse in inheritance and history, not individual genius. Coming from an Armenian-Canadian director whose work repeatedly circles memory, displacement, and the aftershocks of atrocity, the sentence carries the quiet pressure of people raised under the shadow of a trauma that was denied, minimized, or politicized. The “creative act” becomes a surrogate courtroom: not a verdict, but a record.
The phrasing is surgical. “Transcend” suggests a leap beyond the contaminated ground of the event, but Egoyan pairs it with “give a response,” which is more grounded, almost procedural. Art isn’t escape; it’s a reply. And the provocation is “desecration,” a word that implies violation of the sacred - bodies, sites, stories, even language itself. He’s signaling that what’s been damaged isn’t only physical; it’s symbolic order, the sense that anything deserves reverence. In that register, making a film, staging a scene, shaping a narrative is an attempt to restore meaning where meaning was deliberately crushed.
There’s also a strategic modesty in “able to.” He’s not claiming art repairs the world. He’s claiming it offers a way to live with the irreparable without surrendering to silence. For a director whose films often dramatize mediation - recordings, reenactments, performances - the subtext is clear: representation can be fraught, but refusing to represent hands victory to the vandals.
The phrasing is surgical. “Transcend” suggests a leap beyond the contaminated ground of the event, but Egoyan pairs it with “give a response,” which is more grounded, almost procedural. Art isn’t escape; it’s a reply. And the provocation is “desecration,” a word that implies violation of the sacred - bodies, sites, stories, even language itself. He’s signaling that what’s been damaged isn’t only physical; it’s symbolic order, the sense that anything deserves reverence. In that register, making a film, staging a scene, shaping a narrative is an attempt to restore meaning where meaning was deliberately crushed.
There’s also a strategic modesty in “able to.” He’s not claiming art repairs the world. He’s claiming it offers a way to live with the irreparable without surrendering to silence. For a director whose films often dramatize mediation - recordings, reenactments, performances - the subtext is clear: representation can be fraught, but refusing to represent hands victory to the vandals.
Quote Details
| Topic | Art |
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