Anish Kapoor Quotes

I think only of objects: of a leg or an arm, of the wonderful sense of foreshortening, breaking through the plane, of the division of space, of the combination of straight lines in relation to curved ones.

I see lines of space. I break things down into lines and space, and I balance.

Writing is largely about time, while visual art is largely about space.

The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.

As an illustrator you need to understand the human body - but having looked at and understood nature, you must develop an ability to look away and capture the balance between what you've seen and what you imagine.

And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art.

Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes.

Good painting is the kind that looks like sculpture.

Most of the power of painting comes through the manipulation of space... but I don't understand that.

Nudes are the greatest to paint. Everything you can find in a landscape or a still life or anything else is there: darkness and light, character dimension, texture. I painted heads too, of course.

I kind of do the drawing with the painting in mind, but it's very hard to guess at a size or a color and all the colors around it and what it will really look like.

The animation of the canvas is one of the hardest problems of painting.

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

Being able to draw means being able to put things in believable space. People who don't draw very well can't do that.

I like form and shape and strength in pictures.

We would sift through every inch of what it was that worked, or if it didn't, and wonder what was effective in it, in terms of paint, the subject matter, the size, the drawing.

In architecture and interiors, as well as fashion, there is an interaction that is both functional and aesthetic.

I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.

I can look at a photo and the dimensions of any piece and tell you if it's going to sit well with the four other pieces in your room.

What do you see when you look at a representational painting? Most of the time, the first thing I see is a flat piece of canvas covered with colored patterns.

For an object under the eye will appear very different from the same object placed above it; in an inclosed space, very different from the same in an open space.

Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest.

In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.

Any object, whether animate or inanimate, will have a size. Airplanes, boats, or musical string instruments vary in size just like animals and plants, and in all cases, their size and their material construction are totally different matters even though they affect one another.

I think size is the most unused quotient in the sculptor's repertoire because it requires lots of commitment and time. To me it's the best tool. With size you get space and atmosphere: atmosphere becomes volume. You stand in the shape, in the zone.