Cornelia Parker's art is about destruction, resurrection and reconfiguration. Demonstrating the importance of process, she frequently transforms objects by using seemingly violent techniques such as shooting, exploding, squashing, cutting, dropping and burning. Through these actions she both physically alters the object and becomes an active participant in the development of its story.

Parker is a best known for her large-scale installations, such as Cold Dark Matter: An Exploded View 1991 for which she had a garden shed blown up by the British Army and suspended the fragments as if freezing the explosion process in time. Perpetual Canon 2004 is made up of brass band instruments, steamrollered flat. Much of her work has a poetic yet apocalyptic tone and often reflects a concern for the insidious effects of global warming and consumerism. A Turner-Prize nominee, Parker works in a wide variety of media, including drawings, photographs, embroidery and film, and has collaborated with a diverse range of organisations, individuals and groups in the creation of her works, including The Royal Mint, Abbey Road Studios, prisoners, school children, The Daughters of the Republic of Texas, whistleblowers, and Parliament and the Palace of Westminster. Made in close collaboration with the artist, and incorporating perspectives from a wide range of contributors, this book explores these relationships in an absorbing survey that encompasses all aspects of Parker's career from the late 1970s to the new work being made today.

科妮莉亚·帕克（Cornelia Parker）的艺术是关于毁灭、复活和重构的。为了展示过程的重要性，她经常使用一些看似暴力的技术来破坏物体，如射击、爆炸、压扁、切割和燃烧，然后又把这些物体的残骸细致地拼凑起来。通过这些行为，在物理上改变物体的同时，她自己也成为了这个故事发展的积极参与者。

帕克以大型装置作品出名，如1991年的《冷暗物质：爆炸视图》，她请英国军队引爆了她创造的一座小屋，然后把爆炸后所剩下的碎片悬挂起来，加上戏剧性的灯光，展现了暴力和静止，秩序和混乱。2004年的《永恒的卡农》是由被物理手段处理（如挤压，炸裂或摔落）的报废乐器悬挂组成。她的很多作品都带有一种诗意而又启示录般的基调，经常反映出对全球变暖和消费主义潜在影响的担忧。作为特纳奖的提名者，帕克的作品涉及多种媒体，包括绘画、照片、刺绣和电影，并在创作中与不同的组织、个人和团体合作，包括皇家铸币厂、艾比路工作室、囚犯、学校儿童、德克萨斯共和国女儿会、举报人、议会和威斯敏斯特宫。本书是在与艺术家的紧密合作下完成的，并纳入了来自广泛贡献者的观点，书中在一个调查中探讨了这些关系，涵盖了帕克从1970年代末到今天的新作品的所有方面。