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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.

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
Ways
Freedom
Afforded
Artist
Picasso
Seems
Liberation
Way
Psychological
Number
Huge
Numbers

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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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One doesn't make art for other people, even though I am very concerned with the viewer
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Re-investing in one's own little moments of insight is very important
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Work grows out of other work, and there are very few eureka moments
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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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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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There's something imminent in the work, but the circle is only completed by the viewer.
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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
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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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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
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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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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.
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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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Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
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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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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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The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
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I'm not an artist who has an agenda that's set by the work
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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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If one is talking about sculpture then scale and skin is everything.
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