One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?— Anish Kapoor
The most colorful Anish Kapoor quotes that will add value to your life
A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already
Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.
If you get a bad review, you take that in your stride.
I think I understand something about space.
I think the job of a sculptor is spatial as much as it is to do with form.
That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.
Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
I don't want to have anything to say, it just gets in the way.
I think the journey of an artist is a journey of discovery and some engagements with paint, with the nature of material, with bodily things...One wants to open the story, not close it.
One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.
Maybe the way we have learned to look has changed in the last 25 years, and the exotic is much more acceptable. There are many artists now, younger artists, who work out of the exotic
I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade
What one does in the studio is to pose a series of problems to oneself.
I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world.
You know that day after day of, Oh God what am I going to do with myself feeling? The fear of the emptiness that it implies keeps me going
It's precisely in those moments when I don't know what to do, boredom drives one to try a host of possibilities to either get somewhere or not get anywhere.
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury
What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror
Red is a colour I've felt very strongly about.
Maybe red is a very Indian colour, maybe it's one of those things that I grew up with and recognise at some other level.
Re-investing in one's own little moments of insight is very important
Is it my role as an artist to say something, to express, to be expressive? I think it's my role as an artist to bring to expression, it's not my role to be expressive.
I used to empty the studio out and throw stuff away.
I now don't. There will be a whole series of dead ends that a year or two down the line I'll come back to
My first show sold within the first 3 minutes, and I came back to the studio and spent the next two and a half years making almost nothing
My work is not about my life history. It's not about the story of my neurosis
I, in the end, make art for myself.
It is important that artists are not outside the equation, we don't stand on the sidelines. Artists are part of the story of a response, we cannot stand aside and let others make the response.
I'm not an artist who has an agenda that's set by the work
It's the role of the artist to pursue content
I'm not necessarily interested in being the best Indian artist.
I want to be the best artist I can be. That's enough of a declaration of intent.
All ideas grow out of other ideas
Being an artist is a very long game. It is not a 10-year game. I hope I'll be around making art when I'm 80
The work itself has a complete circle of meaning and counterpoint.
And without your involvement as a viewer, there is no story.
One doesn't make art for other people, even though I am very concerned with the viewer
I feel the symbolic world is the nub of a problem for an artist
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately
The most important things that one's working on are not necessarily the most important things that one thinks one's working on.
One can hardly be Indian and not know that almost every accent, which hand you eat your food with, has some deeper symbolic truth, reality.
If sculpture can really deal with the body, because we all inhabit ourselves, and if sculpture can really do that, which it is supposed to be able to do, and through it ask questions, philosophical questions, about being, I think these are all things we work on, all of us in our different ways, so perhaps somewhere in there, there are moments where dumb objects can speak.
The whole point of being an artist is to have no agenda.
To say, you know, I don't know what I am going to do tomorrow, I don't know what it's going to look like, and I'm going to have a go at it.
I am really interested in the idea that art can reach wider, can go further, can go beyond the art world, why not? People are intelligent, people are visually intelligent, and why shouldn't the work be able to engage some of that?
If one is talking about sculpture then scale and skin is everything.
We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.
Work grows out of other work, and there are very few eureka moments
One does not set out with the idea that I've just had a great idea and now I'm going to go and carry it out. Almost all art that's made like that doesn't go anywhere.
Artists don't make objects. Artists make mythologies.
One must not believe any of those mythologies about oneself as an artist
There's something imminent in the work, but the circle is only completed by the viewer.