Academic description of artworkIn 1995, Anish Kapoor started working on Turning the World Upside Down and Turning the World Inside Out, a series of works made of stainless steel and polished to a high degree, creating a very reflective surface. This was the first time the viewer was asked to engage and become a part of the work (in contrast to early void works). From this time the artist has been fascinated by and continued to examine these types of surfaces, both large and small scale. In recent years the artist has been exploring the reflective qualities and surfaces of metals such as gold, bronze, nickel and copper.

Anish Kapoor’s concave mirrors tease and test the boundaries of spatial perception. The curved, aluminum plate projects a focused image between the viewer and work. From a distance, the reflected image within the lacquered surface appears upside down alluding to the possibility of an alternate perceptual reality. The reflections discord with reality suggests an infinite and alternative space contained within the mirror, suspending the life it captures in spatiotemporal limbo. Kapoor’s ‘Mirror’ asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

Nicholas Baume describes the innovation of Kapoor’s illusion: “Contradicting the Minimalist dictum that “what you see is what you see,” Anish Kapoor’s work mounts an assault on perceptual empiricism. His work has always been about what is not seen, what is implied, or what is seen and yet contradicted by our everyday knowledge of the world.” - Nicholas Baume in Anish Kapoor: Past, Present, Future, Institute of Contemporary Art (ICA).

Academic description of artworkIn 1995, Anish Kapoor started working on Turning the World Upside Down and Turning the World Inside Out, a series of works made of stainless steel and polished to a high degree, creating a very reflective surface. This was the first time the viewer was asked to engage and become a part of the work (in contrast to early void works). From this time the artist has been fascinated by and continued to examine these types of surfaces, both large and small scale. In recent years the artist has been exploring the reflective qualities and surfaces of metals such as gold, bronze, nickel and copper.

Anish Kapoor’s concave mirrors tease and test the boundaries of spatial perception. The curved, aluminum plate projects a focused image between the viewer and work. From a distance, the reflected image within the lacquered surface appears upside down alluding to the possibility of an alternate perceptual reality. The reflections discord with reality suggests an infinite and alternative space contained within the mirror, suspending the life it captures in spatiotemporal limbo. Kapoor’s ‘Mirror’ asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

Nicholas Baume describes the innovation of Kapoor’s illusion: “Contradicting the Minimalist dictum that “what you see is what you see,” Anish Kapoor’s work mounts an assault on perceptual empiricism. His work has always been about what is not seen, what is implied, or what is seen and yet contradicted by our everyday knowledge of the world.” - Nicholas Baume in Anish Kapoor: Past, Present, Future, Institute of Contemporary Art (ICA).

Academic description of artworkIn 1995, Anish Kapoor started working on Turning the World Upside Down and Turning the World Inside Out, a series of works made of stainless steel and polished to a high degree, creating a very reflective surface. This was the first time the viewer was asked to engage and become a part of the work (in contrast to early void works). From this time the artist has been fascinated by and continued to examine these types of surfaces, both large and small scale. In recent years the artist has been exploring the reflective qualities and surfaces of metals such as gold, bronze, nickel and copper.

Anish Kapoor’s concave mirrors tease and test the boundaries of spatial perception. The curved, aluminum plate projects a focused image between the viewer and work. From a distance, the reflected image within the lacquered surface appears upside down alluding to the possibility of an alternate perceptual reality. The reflections discord with reality suggests an infinite and alternative space contained within the mirror, suspending the life it captures in spatiotemporal limbo. Kapoor’s ‘Mirror’ asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

Nicholas Baume describes the innovation of Kapoor’s illusion: “Contradicting the Minimalist dictum that “what you see is what you see,” Anish Kapoor’s work mounts an assault on perceptual empiricism. His work has always been about what is not seen, what is implied, or what is seen and yet contradicted by our everyday knowledge of the world.” - Nicholas Baume in Anish Kapoor: Past, Present, Future, Institute of Contemporary Art (ICA).

Academic description of artworkIn 1995, Anish Kapoor started working on Turning the World Upside Down and Turning the World Inside Out, a series of works made of stainless steel and polished to a high degree, creating a very reflective surface. This was the first time the viewer was asked to engage and become a part of the work (in contrast to early void works). From this time the artist has been fascinated by and continued to examine these types of surfaces, both large and small scale. In recent years the artist has been exploring the reflective qualities and surfaces of metals such as gold, bronze, nickel and copper.

Anish Kapoor’s concave mirrors tease and test the boundaries of spatial perception. The curved, aluminum plate projects a focused image between the viewer and work. From a distance, the reflected image within the lacquered surface appears upside down alluding to the possibility of an alternate perceptual reality. The reflections discord with reality suggests an infinite and alternative space contained within the mirror, suspending the life it captures in spatiotemporal limbo. Kapoor’s ‘Mirror’ asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

Nicholas Baume describes the innovation of Kapoor’s illusion: “Contradicting the Minimalist dictum that “what you see is what you see,” Anish Kapoor’s work mounts an assault on perceptual empiricism. His work has always been about what is not seen, what is implied, or what is seen and yet contradicted by our everyday knowledge of the world.” - Nicholas Baume in Anish Kapoor: Past, Present, Future, Institute of Contemporary Art (ICA).