The abstract nature of Kapoors’ work is best described by an extract from the essay ‘The Plasmic Image’(1945) by American painter Barnett Newman, in which he likens the ‘true abstract artist’ as one whom is “Concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world-mystery. His imagination is therefore attempting to dig into metaphysical secrets. To that extent his art is concerned with the sublime.” [1]
Due to the enormity of the sculptures spectators become immediately, and perhaps involuntarily, aware of their size, space, and even place in the universe. Many sculptures, such as the ones constructed of wax, draw the viewer into an entirely different state of viewing and ‘seeing’, these works that give the illusion of movement make the viewer a participant in the sculptures, there is a sense of anticipation that is induced, which creates an attraction and a completely different way of ‘seeing’ and understanding, as Kapoor explains as ‘mental sculpture.[2]’
Discribed as ‘auto-generated’[3], they are objects where the artist/ creator is an unseen force. The works create an aura of simply ‘being’ and existing- surfaces of polished steel that draw the viewer into the work itself becomes an almost spiritual and transcendent experience.
One feels an attraction to these works and yet is immediately baffled and forced to somehow explore the depths, meanings and implications of space, time and infinity within these works and within themselves. As Edmund Burke[4] describes, ‘infinity has a tendency to fill the mind with that sort of delightful horror which is the most genuine effect and truest test of the sublime.’
The feeling that resonates from the monumental works such as "Cloud Gate", to those such as "Past, present, future", all create a multitude of sensations within the beholder that captivates and simultaneously throws one into a spiral of intrigue, mystery and sense of wonderment.
One feels an attraction to these works and yet is immediately baffled and forced to somehow explore the depths, meanings and implications of space, time and infinity within these works and within themselves. As Edmund Burke[4] describes, ‘infinity has a tendency to fill the mind with that sort of delightful horror which is the most genuine effect and truest test of the sublime.’
The feeling that resonates from the monumental works such as "Cloud Gate", to those such as "Past, present, future", all create a multitude of sensations within the beholder that captivates and simultaneously throws one into a spiral of intrigue, mystery and sense of wonderment.
To conclude, Anish Kapoor explains the truest meanings of his works as he sees them, “I think the real subject for me, if there is one, is the sublime…it’s this whole notion of somehow trying to shorten the distance of the sublime experience… If one is looking at a Friedrich painting of a figure looking at the sunset, then one is having one’s reverie in terms of their experience…Its my wish to make that distance shorter so that the reverie is direct. You’re not watching someone else do it; you’re compelled to do it yourself.”[5]
[1] Rainer Crone, Alexandra Von Stosch, Anish Kapoor, (London: Prestel Publishing Ltd, 2008), 27.
[2] Sandhini Poddar, “Anish Kapoor- the fiction of Auto-generation.” Art Asia Pacific, no.60 (sept-oct 2008):157.
[3] Sandhini Poddar, “Anish Kapoor- the fiction of Auto-generation.” Art Asia Pacific, no.60 (sept-oct 2008):15
[4] Rainer Crone, Alexandra Von Stosch, Anish Kapoor, (London: Prestel Publishing Ltd, 2008), 25.
[5] Rainer Crone, Alexandra Von Stosch, Anish Kapoor, (London: Prestel Publishing Ltd, 2008), 27-28.
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