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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.

Anish Kapoor

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Anish Kapoor
Age: 70
Born: 1954
Born: March 12
Architect
Drawer
Jewelry Designer
Painter
Scenographer
Sculptor
Visual Artist
Bombay
Sir Anish Kapoor
Sir Anish Mikhail Kapoor
Anish Mikhail Kapoor
Reality
Symbolic
Hands
Accents
Truth
Hardly
Every
Indian
Deeper
Food
Hand
Almost
Accent

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We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.
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One doesn't make art for other people, even though I am very concerned with the viewer
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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
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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.
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Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
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One must not believe any of those mythologies about oneself as an artist
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Artists don't make objects. Artists make mythologies.
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That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.
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The most important things that one's working on are not necessarily the most important things that one thinks one's working on.
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One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.
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Work grows out of other work, and there are very few eureka moments
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I, in the end, make art for myself.
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I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.
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Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
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My work is not about my life history. It's not about the story of my neurosis
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One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?
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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.
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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?
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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.
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The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately
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