Sculptor Anish Kapoor’s first Australasian survey exhibition shows the immense breadth of his practice, but there are also strong commonalities running through the forms on display, he says.
Staring into Anish Kapoor’s Void is like having your eyes sucked out of your head and into deep space for a few pulsating minutes. It’s a half-globe, like a giant tennis ball sliced in two, coated in a magisterial blue pigment. Despite its simplicity, it manages to do something vaguely transcendental, becoming both a plastic and optical illusion that destabilises everything around it. It’s also typical of Kapoor’s work, which for the past 30 years has married an intense investigation of sculpture’s limits with a kind of erotic joy. This approach has brought the British artist ...
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