Anish Kapoor

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.

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.

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.

Sculpture occupies the same space as your body.

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.

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.

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

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.

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

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.

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.

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