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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?

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
People
Interested
Beyond
Idea
Visually
Art
Wider
Able
Engage
Work
Shouldn
Really
Intelligent
World
Reach

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Work grows out of other work, and there are very few eureka moments
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I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.
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Re-investing in one's own little moments of insight is very important
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I, in the end, make art for myself.
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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.
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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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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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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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Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.
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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 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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Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
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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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One must not believe any of those mythologies about oneself as an artist
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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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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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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.
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I feel the symbolic world is the nub of a problem for an artist
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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 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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