"The art of Anish Kapoor represents a quest for self-discovery. His rich cultural background combined with an interest in psychoanalysis are crucial to any discussion of both his sculptures and drawings.

One of the subjects of Kapoor's drawings is the unconscious. He has stated that 'what I am trying to do is to make a picture of the interior, the interior of me', which suggests that the drawings are concerned with the interior of the body as a place, a container and a soul. For Kapoor the interior of the body is an unknown area, a chasm or a void which is both comforting and fearful, protective and restrictive, creative and destructive; indeed all the characteristics of the Great Mother who consists of the Good Mother and the Terrible Mother combined. These binary oppositions, central to the make-up of the Great Mother, are also key elements of Kapoor's images and, furthermore, of Indian, specifically Hindu, culture where the feminine deity (shakti) is perceived as the energising female counterpart or consort of the male god. In cults which elevate the female principle above the male, the female is seen as the energising force which stimulates the masculine potential which is seen as dormant - even dead - without her. Kapoor's emphasis on the femininity of his creativity, therefore, also falls centrally within the culture of his country of origin.

[..] Each drawing is usually begun near the centre of the sheet and while it develops relatively spontaneously Kapoor knows from the outset what kind of motif he is dealing with. The drawings are quickly achieved and are direct expressions when compared with the sculptures, which require greater planning and considerable time to create.

Although such apparently simple images may be appreciated for their incredibly beauty alone, they suggest themes based on multi-racial and timeless beliefs, archetypes which cross barriers and remain relevant throughout the history of human kind.”

- Jeremy Lewison, excerpts from 'Anish Kapoor', catalogue published on the occasion of his exhibition of drawings at Tate Gallery London, 1991.

"The art of Anish Kapoor represents a quest for self-discovery. His rich cultural background combined with an interest in psychoanalysis are crucial to any discussion of both his sculptures and drawings.

One of the subjects of Kapoor's drawings is the unconscious. He has stated that 'what I am trying to do is to make a picture of the interior, the interior of me', which suggests that the drawings are concerned with the interior of the body as a place, a container and a soul. For Kapoor the interior of the body is an unknown area, a chasm or a void which is both comforting and fearful, protective and restrictive, creative and destructive; indeed all the characteristics of the Great Mother who consists of the Good Mother and the Terrible Mother combined. These binary oppositions, central to the make-up of the Great Mother, are also key elements of Kapoor's images and, furthermore, of Indian, specifically Hindu, culture where the feminine deity (shakti) is perceived as the energising female counterpart or consort of the male god. In cults which elevate the female principle above the male, the female is seen as the energising force which stimulates the masculine potential which is seen as dormant - even dead - without her. Kapoor's emphasis on the femininity of his creativity, therefore, also falls centrally within the culture of his country of origin.

[..] Each drawing is usually begun near the centre of the sheet and while it develops relatively spontaneously Kapoor knows from the outset what kind of motif he is dealing with. The drawings are quickly achieved and are direct expressions when compared with the sculptures, which require greater planning and considerable time to create.

Although such apparently simple images may be appreciated for their incredibly beauty alone, they suggest themes based on multi-racial and timeless beliefs, archetypes which cross barriers and remain relevant throughout the history of human kind.”

- Jeremy Lewison, excerpts from 'Anish Kapoor', catalogue published on the occasion of his exhibition of drawings at Tate Gallery London, 1991.

"The art of Anish Kapoor represents a quest for self-discovery. His rich cultural background combined with an interest in psychoanalysis are crucial to any discussion of both his sculptures and drawings.

One of the subjects of Kapoor's drawings is the unconscious. He has stated that 'what I am trying to do is to make a picture of the interior, the interior of me', which suggests that the drawings are concerned with the interior of the body as a place, a container and a soul. For Kapoor the interior of the body is an unknown area, a chasm or a void which is both comforting and fearful, protective and restrictive, creative and destructive; indeed all the characteristics of the Great Mother who consists of the Good Mother and the Terrible Mother combined. These binary oppositions, central to the make-up of the Great Mother, are also key elements of Kapoor's images and, furthermore, of Indian, specifically Hindu, culture where the feminine deity (shakti) is perceived as the energising female counterpart or consort of the male god. In cults which elevate the female principle above the male, the female is seen as the energising force which stimulates the masculine potential which is seen as dormant - even dead - without her. Kapoor's emphasis on the femininity of his creativity, therefore, also falls centrally within the culture of his country of origin.

[..] Each drawing is usually begun near the centre of the sheet and while it develops relatively spontaneously Kapoor knows from the outset what kind of motif he is dealing with. The drawings are quickly achieved and are direct expressions when compared with the sculptures, which require greater planning and considerable time to create.

Although such apparently simple images may be appreciated for their incredibly beauty alone, they suggest themes based on multi-racial and timeless beliefs, archetypes which cross barriers and remain relevant throughout the history of human kind.”

- Jeremy Lewison, excerpts from 'Anish Kapoor', catalogue published on the occasion of his exhibition of drawings at Tate Gallery London, 1991.