Words matter. These are the best Anish Kapoor Quotes, and they’re great for sharing with your friends.
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.
Re-investing in one’s own little moments of insight is very important.
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.
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.
If you get a bad review, you take that in your stride.
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.
Much of what I make is geometric, and has a kind of almost mathematical logic to the form.
My work is not about my life history. It’s not about the story of my neurosis.
I’m not an artist who has an agenda that’s set by the work.
One doesn’t make art for other people, even though I am very concerned with the viewer.
Work grows out of other work, and there are very few eureka moments.
Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.
It’s the role of the artist to pursue content.
I feel the symbolic world is the nub of a problem for an artist.
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.
All ideas grow out of other ideas.
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.
One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.
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.
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.
I feel there’s everything to do yet.
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.
Red, of course, is the colour of the interior of our bodies. In a way it’s inside out, red.
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.
I am Indian, and I’m proud of it. Indian life is mythologically rich and powerful.
I’ve nothing to say.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
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’ve always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.
A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already.
One must not believe any of those mythologies about oneself as an artist.
The idea is that the object has a language unto itself.
There’s something imminent in the work, but the circle is only completed by the viewer.
Sculpture occupies the same space as your body.
