Anish Kapoor

Sans titre, 1984

© Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

Anish Kapoor, Sans titre, © Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

© Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

Anish Kapoor, Sans titre, © Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

© Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

Anish Kapoor, Sans titre, © Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

© Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay

Anish Kapoor, Sans titre, © Anish Kapoor / SOCAN (2022) • Photo: Richard-Max Tremblay
Artist
Anish Kapoor
Title
Sans titre
Dimensions and medium
Mixed media and pigment, Dimensions variable
Artwork description
When Anish Kapoor travelled to his native India in 1979, he rediscovered the country’s architecture, philosophy, mythology and art. To this day, the artist’s practice embodies these influences and reflects the meeting point between the cultural traditions of East and West. Seduced by the flamboyantly coloured powders left at the entrances of Hindu temples, Kapoor began to coat his sculptures in pigments of pure colour, the meanings of which vary from one work to the next: for example, red is a symbol of masculinity, black of destruction and creation. In Sans titre, 1984, four polystyrene forms covered in pure pigment evoke elements from the natural world. Echoing each other in colour and shape, they create a network of complex associations that shift in relation to the viewer’s position. Their placement on the floor or wall suggests the union of material and spiritual worlds and demonstrates the artist’s interest in what is both separate and whole. Kapoor works have a strange, almost immaterial presence. Their luminous surfaces invite our touch and stimulate our desires.

See Also

Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
Irene F. Whittome, Château d’eau : lumière mythique, 1997 Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
detail of Jumbo Spoons and Big Cake, 2000, Mixed media and various materials.
Thomas Hirschhorn, Jumbo Spoons and Big Cake, 2000 detail of Jumbo Spoons and Big Cake, 2000, Mixed media and various materials.
Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Alexandre Castonguay, Générique, 2001 Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Fantasmagorie lumineuse, 2008, Video projected on wood screen, loop, stereo sound, 18 min 58 s, 1/3.
Manon De Pauw, Fantasmagorie lumineuse, 2008 Fantasmagorie lumineuse, 2008, Video projected on wood screen, loop, stereo sound, 18 min 58 s, 1/3.
La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Gilles Mihalcean, La Nativité, 1995 La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Factory for a Day, 1996-2008, Various materials, paintings, photographs, videos, and sound.
Tricia Middleton, Factory for a Day, 1996-2008 Factory for a Day, 1996-2008, Various materials, paintings, photographs, videos, and sound.
LOVELAND, 2009-2011, HD video, 5 min, sound by Tim Hecker, limited edition of the book « The Purple Cloud » from Matthew Phipps Shiel, and Chatham synthetic emeralds.
Charles Stankievech, LOVELAND, 2009-2011 LOVELAND, 2009-2011, HD video, 5 min, sound by Tim Hecker, limited edition of the book « The Purple Cloud » from Matthew Phipps Shiel, and Chatham synthetic emeralds.
detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
Abbas Akhavan, Fatigues, 2014 detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
still EAST of Soliloquy, 1999, 16 mm colour film transferred on 2 DVDs, 2 screens, sound, 17 min 33 s., 5/6.
Shirin Neshat, Soliloquy, 1999 still EAST of Soliloquy, 1999, 16 mm colour film transferred on 2 DVDs, 2 screens, sound, 17 min 33 s., 5/6.
Black Whole Conference, 2006, 74 chairs.
Michel de Broin, Black Whole Conference, 2006 Black Whole Conference, 2006, 74 chairs.
The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
Louise Bourgeois, The Red Room - Child, 1994 The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
Icarus (La Récolte), 2011, Inkjet print on polypropylene banner, furniture, REGA P1 turntable, 33 rpm vinyl record, drawing on panel, metal disc, and vertical blinds.
Mathieu Beauséjour, Icarus (La Récolte), 2011 Icarus (La Récolte), 2011, Inkjet print on polypropylene banner, furniture, REGA P1 turntable, 33 rpm vinyl record, drawing on panel, metal disc, and vertical blinds.
1911, 2006, Computer data projected on a flat screen, 3/5.
Charles Sandison, 1911, 2006 1911, 2006, Computer data projected on a flat screen, 3/5.
The Column, 2013, HD video, colour, sound, 25 min 40 s, 5/6.
Adrian Paci, The Column, 2013 The Column, 2013, HD video, colour, sound, 25 min 40 s, 5/6.
Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
Rober Racine, Le Terrain du dictionnaire A/Z, 1980 Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
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