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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

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
Emptiness
Keeps
Feeling
Fear
Feelings
Going
Implies

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If one is talking about sculpture then scale and skin is everything.
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Sculpture occupies the same space as your body.
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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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If you get a bad review, you take that in your stride.
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A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already
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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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I'm not an artist who has an agenda that's set by the work
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One must not believe any of those mythologies about oneself as an artist
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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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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
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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
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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 can hardly be Indian and not know that almost every accent, which hand you eat your food with, has some deeper symbolic truth, reality.
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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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Re-investing in one's own little moments of insight is very important
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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.
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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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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
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It's the role of the artist to pursue content
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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.
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