Chris Ofili Quotes
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I just hope that when black people look at me, they don't see someone superhuman. They see themselves.
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The Notorious B.I.G.'s album 'Ready to Die' is an incredible chart of a man's life - it begins with his birth, you hear his mother giving birth, and it goes through the decades.
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I've always found music inspired me in the studio to try to do new things. If someone comes out with a new album, it's like, 'Gosh, they've been working hard - so should I.'
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Love is a blissful state, but it's not a utopia.
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I was an altar boy and heard the Bible being read out repeatedly. The stories have stayed with me, although they're completely remixed in my head. And often, when I do further reading, I'm quite surprised by the difference between the real story and my memory of the story.
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Sometimes, as I feel a door or an exit point in my work is closing, I'll try to create an opening so as not to stifle the creative process, which I see as a process that's never-ending.
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A lot of what Trinidad is about is the feeling of the place, the atmosphere of the place, particularly at night, and the mystery of the forest.
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'Death & the Roses' came out of ideas about flagellation and guilt and from looking at Piero della Francesca's 'The Flagellation of Christ.'
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Change is not indecision.
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I love Manchester. I love Manchester United. But I would really struggle to be creative there. I feel a bit lost, over-familiar maybe. Maybe too stuck in my own web of history.
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London was an exciting place to work at one point because, socially, it was very progressive - a catalyst. There were very interesting artists making all types of work, but it got to a point where the social aspect became claustrophobic.