Oriental Blue to Clear, 2023 is a new 85-cm reflective blue mirror which fades from a darker Oriental Blue in the centre to a lighter blue and eventually clear stainless steel on the edges.

Kapoor’s mirrored works pull the viewer in and disorientate all sense of self and surroundings. The concave surfaces of these works create a solidity that is fluid and uncertain. Kapoor observes, “they seem to be active, to be in various states of becoming.” As well as warping and distorting the viewer’s vision of them and the very landscape and environment in which they are sited, Kapoor’s recent mirrors extend his interest in the transcendental qualities of colour to new levels of luminosity and independent existence.

The fading and blending of colours references his appreciation of painterly concerns. In a recent catalogue essay, the artist and architectural designer Mark Pimlott observes that, “There is the world in which one stands, and there is another world, which is around the corner of the mirror, around the edges of sight, where one’s reflection does not appear; a world that one cannot entirely perceive, but which one knows is there, both identical and possibly entirely different from one’s own.” Kapoor’s work shifts perspective; the periphery of the object opens a liminal space, that is experienced both internally and physically.

Oriental Blue to Clear, 2023 is a new 85-cm reflective blue mirror which fades from a darker Oriental Blue in the centre to a lighter blue and eventually clear stainless steel on the edges.

Kapoor’s mirrored works pull the viewer in and disorientate all sense of self and surroundings. The concave surfaces of these works create a solidity that is fluid and uncertain. Kapoor observes, “they seem to be active, to be in various states of becoming.” As well as warping and distorting the viewer’s vision of them and the very landscape and environment in which they are sited, Kapoor’s recent mirrors extend his interest in the transcendental qualities of colour to new levels of luminosity and independent existence.

The fading and blending of colours references his appreciation of painterly concerns. In a recent catalogue essay, the artist and architectural designer Mark Pimlott observes that, “There is the world in which one stands, and there is another world, which is around the corner of the mirror, around the edges of sight, where one’s reflection does not appear; a world that one cannot entirely perceive, but which one knows is there, both identical and possibly entirely different from one’s own.” Kapoor’s work shifts perspective; the periphery of the object opens a liminal space, that is experienced both internally and physically.

Oriental Blue to Clear, 2023 is a new 85-cm reflective blue mirror which fades from a darker Oriental Blue in the centre to a lighter blue and eventually clear stainless steel on the edges.

Kapoor’s mirrored works pull the viewer in and disorientate all sense of self and surroundings. The concave surfaces of these works create a solidity that is fluid and uncertain. Kapoor observes, “they seem to be active, to be in various states of becoming.” As well as warping and distorting the viewer’s vision of them and the very landscape and environment in which they are sited, Kapoor’s recent mirrors extend his interest in the transcendental qualities of colour to new levels of luminosity and independent existence.

The fading and blending of colours references his appreciation of painterly concerns. In a recent catalogue essay, the artist and architectural designer Mark Pimlott observes that, “There is the world in which one stands, and there is another world, which is around the corner of the mirror, around the edges of sight, where one’s reflection does not appear; a world that one cannot entirely perceive, but which one knows is there, both identical and possibly entirely different from one’s own.” Kapoor’s work shifts perspective; the periphery of the object opens a liminal space, that is experienced both internally and physically.

Oriental Blue to Clear, 2023 is a new 85-cm reflective blue mirror which fades from a darker Oriental Blue in the centre to a lighter blue and eventually clear stainless steel on the edges.

Kapoor’s mirrored works pull the viewer in and disorientate all sense of self and surroundings. The concave surfaces of these works create a solidity that is fluid and uncertain. Kapoor observes, “they seem to be active, to be in various states of becoming.” As well as warping and distorting the viewer’s vision of them and the very landscape and environment in which they are sited, Kapoor’s recent mirrors extend his interest in the transcendental qualities of colour to new levels of luminosity and independent existence.

The fading and blending of colours references his appreciation of painterly concerns. In a recent catalogue essay, the artist and architectural designer Mark Pimlott observes that, “There is the world in which one stands, and there is another world, which is around the corner of the mirror, around the edges of sight, where one’s reflection does not appear; a world that one cannot entirely perceive, but which one knows is there, both identical and possibly entirely different from one’s own.” Kapoor’s work shifts perspective; the periphery of the object opens a liminal space, that is experienced both internally and physically.