Quotes By Anish Kapoor

That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.

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.

I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.

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.

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.

Work grows out of other work, and there are very few eureka moments.

The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.

One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?

The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.

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.

I, in the end, make art for myself.

We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.

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.

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.

It's the role of the artist to pursue content.

My work is not about my life history. It's not about the story of my neurosis.

I feel there's everything to do yet.

Re-investing in one's own little moments of insight is very important.

One doesn't make art for other people, even though I am very concerned with the viewer.

If you get a bad review, you take that in your stride.

Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.

Artists don't make objects. Artists make mythologies.

All ideas grow out of other ideas.

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.

The idea is that the object has a language unto itself.

Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.

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.

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.

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.