English - Artist | October 10, 1968 -
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.
Chris Ofili
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Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
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I was brought up a Catholic and was an altar boy.
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I believe in God, but I'm not dominated by it.
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We all studied math, but we don't go around spewing numbers. Religion should be used in the appropriate way.
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The church is not made up of one person but a whole congregation, and they should be able to interact with art without being told what to think.
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I've always set out to embrace all that I am.
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Moving to Trinidad was a great experiment. I never knew what it would do to my work or even if it would be accepted by people and not be seen as me just falling off the edge of the earth.
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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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I wouldn't say even that I'm a broadly political person. But on occasion, I have felt that I have no choice but to paint something with a strong moral stance.
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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.
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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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