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Work grows out of other work, and there are very few eureka moments.
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.
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.
We live in a fractured world. I've always seen it as my role as an artist to attempt to make wholeness.
There's something imminent in the work, but the circle is only completed by the viewer.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
The idea is that the object has a language unto itself.
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.
That freedom that Picasso afforded himself, to be an artist in a huge number of ways, seems to be a huge psychological liberation.
Sculpture occupies the same space as your body.
Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.
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.
Re-investing in one's own little moments of insight is very important.
I Love You For Him
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