Anish Kapoor quotes:

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.

One cannot set out to make a work that's spiritual. What is a contemporary iconography for the spiritual? Is it some fuzzy space?

My work is not about my life history. It's not about the story of my neurosis.

One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.

Sculpture occupies the same space as your body.

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.

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.

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.

The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.

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.

Work grows out of other work, and there are very few eureka moments.

I am Indian, and I'm proud of it. Indian life is mythologically rich and powerful.

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

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

Re-investing in one's own little moments of insight is very important.

I've nothing to say.

Re-investing in one's own little moments of insight is very important

Content arises out of certain considerations about form, material, context-and that when that subject matter is sufficiently far away.

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.

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

I'm not an artist who has an agenda that's set by the work

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

The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.

I feel the symbolic world is the nub of a problem for an artist.

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

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

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

A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already

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.

A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already.

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

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.

There's something imminent in the work, but the circle is only completed by the viewer.

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.

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.

We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.

Much of what I make is geometric, and has a kind of almost mathematical logic to the form.

That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.

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.

All ideas grow out of other ideas

I don't want to have anything to say, it just gets in the way. I think the journey of an artist is a journey of discovery and some engagements with paint, with the nature of material, with bodily things...One wants to open the story, not close it.

Artists don't make objects. Artists make mythologies.

I, in the end, make art for myself.

The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately

Work grows out of other work, and there are very few eureka moments

One doesn't make art for other people, even though I am very concerned with the viewer

I feel the symbolic world is the nub of a problem for an artist

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.

It's the role of the artist to pursue content

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

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

One must not believe any of those mythologies about oneself as an artist

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.

If one is talking about sculpture then scale and skin is everything,

The most important things that one's working on are not necessarily the most important things that one thinks one's working on.

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.