Anish Kapoor Quotes

The reason you work as an artist is to stay open and ask questions.

In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.

As an artist, you have the job of working out whatever is given you to work out.

I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.

How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.

Some of these sketches were done at the very beginning of the Pirates project, when I was trying to find a direction for myself. That was the early sixties... maybe 61 or 62.

In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer.

I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?'

I see my studio like a laboratory, where I work like an investigator - it's almost forensic. I love the discovery process in painting.

The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.

I am a keen observer of my own films; I also try to discover myself through the movies I make.

One of the challenges we set up for 'Puscifer' was to come up with a core identity and see how far we can push it.

I think now that the great thing is not so much the formulation of an answer for myself, for the theater, or the play-but rather the most accurate possible statement of the problem.

This is what I like about being a designer: You can't really get it until you see it.

Filmmaking is incredible introspective. It forces you to sort of examine yourself in new ways.

Whatever the medium, there is the difficulty, challenge, fascination and often productive clumsiness of learning a new method: the wonderful puzzles and problems of translating with new materials.

It's really an interesting problem, trying to earn a living and serve art and serve kids. What I try to create are these visual layers so that readers feel the possibility exists that there might be something in the book they never saw before.

There's a weird intellectual approach to filmmaking, where I pose a question to myself and use the film to try and answer it.

You have to challenge yourself about the choices you make as an artist.

I try to just focus on what feels right to me when I am conceiving it, conceptualizing, designing, etc. and then talk it through with the team and listen to what they have to say. This kind of thing is a team effort, and working with a great team is the most important part of filmmaking for me.

Design is thinking made visual.

My approach to portraiture is conceptual.

Solve problems, make art, think deeply.

I enjoy logic and logic puzzles. And filmmaking is one fun logic puzzle that you gotta win.

I really love printmaking. It’s like a mystery and you’re trying to figure out how to rein it in.