“When we look at Kapoor’s stone sculptures, executed over the last three decades - works fashioned from marble, onyx, alabaster, granite, sandstone and other ‘rocks’ - many perspectives concerning the realities and philosophies of historical time come to mind. They invite the viewer to reflect three-fold on the mysteries of time buried within their form and substance. In the first instance, we can reflect on the place these sculptures occupy within the totality of Kapoor’s art, which over the past 40 years has contrived to occupy so many original and ambitious forms in both conception and construction. His works range in materiality from small, pure ground piles of pigment to massive stainless steel mirrors - convex and concave - that reflect and distort the world. There are works made with poured concrete, vast quantities of viscous wax, not to mention environmental sculptures that interfere with and comment on land or townscape. And then, of course, there is the notion of emptiness, which seems of central importance to Kapoor. Indeed, the pride of place he gives to the depiction of infinite space leads to the innate intangibility that lies at the heart of much of his production. These empty spaces invoke Kapoor’s heightened sensibility for the unknown abyss, both psychological and perceptual, that each thinking person, regardless of religion or faith, is confronted by as he or she searches for some kind of existential self-knowledge. In the sense that all artworks are mirrors of memory, as well as strategies towards cultural knowledge, the particular abstract form developed by Kapoor are part of a voyage of his own self-discovery which, like all outstanding artists, he has the ability to share with each of us.”

- Rosenthal, Norman. "Anish Kapoor, Stone Works." Anish Kapoor Stone. Istanbul: Sakip Sabanci Museum, 2013. 300-01. Print.

“When we look at Kapoor’s stone sculptures, executed over the last three decades - works fashioned from marble, onyx, alabaster, granite, sandstone and other ‘rocks’ - many perspectives concerning the realities and philosophies of historical time come to mind. They invite the viewer to reflect three-fold on the mysteries of time buried within their form and substance. In the first instance, we can reflect on the place these sculptures occupy within the totality of Kapoor’s art, which over the past 40 years has contrived to occupy so many original and ambitious forms in both conception and construction. His works range in materiality from small, pure ground piles of pigment to massive stainless steel mirrors - convex and concave - that reflect and distort the world. There are works made with poured concrete, vast quantities of viscous wax, not to mention environmental sculptures that interfere with and comment on land or townscape. And then, of course, there is the notion of emptiness, which seems of central importance to Kapoor. Indeed, the pride of place he gives to the depiction of infinite space leads to the innate intangibility that lies at the heart of much of his production. These empty spaces invoke Kapoor’s heightened sensibility for the unknown abyss, both psychological and perceptual, that each thinking person, regardless of religion or faith, is confronted by as he or she searches for some kind of existential self-knowledge. In the sense that all artworks are mirrors of memory, as well as strategies towards cultural knowledge, the particular abstract form developed by Kapoor are part of a voyage of his own self-discovery which, like all outstanding artists, he has the ability to share with each of us.”

- Rosenthal, Norman. "Anish Kapoor, Stone Works." Anish Kapoor Stone. Istanbul: Sakip Sabanci Museum, 2013. 300-01. Print.

“When we look at Kapoor’s stone sculptures, executed over the last three decades - works fashioned from marble, onyx, alabaster, granite, sandstone and other ‘rocks’ - many perspectives concerning the realities and philosophies of historical time come to mind. They invite the viewer to reflect three-fold on the mysteries of time buried within their form and substance. In the first instance, we can reflect on the place these sculptures occupy within the totality of Kapoor’s art, which over the past 40 years has contrived to occupy so many original and ambitious forms in both conception and construction. His works range in materiality from small, pure ground piles of pigment to massive stainless steel mirrors - convex and concave - that reflect and distort the world. There are works made with poured concrete, vast quantities of viscous wax, not to mention environmental sculptures that interfere with and comment on land or townscape. And then, of course, there is the notion of emptiness, which seems of central importance to Kapoor. Indeed, the pride of place he gives to the depiction of infinite space leads to the innate intangibility that lies at the heart of much of his production. These empty spaces invoke Kapoor’s heightened sensibility for the unknown abyss, both psychological and perceptual, that each thinking person, regardless of religion or faith, is confronted by as he or she searches for some kind of existential self-knowledge. In the sense that all artworks are mirrors of memory, as well as strategies towards cultural knowledge, the particular abstract form developed by Kapoor are part of a voyage of his own self-discovery which, like all outstanding artists, he has the ability to share with each of us.”

- Rosenthal, Norman. "Anish Kapoor, Stone Works." Anish Kapoor Stone. Istanbul: Sakip Sabanci Museum, 2013. 300-01. Print.

“When we look at Kapoor’s stone sculptures, executed over the last three decades - works fashioned from marble, onyx, alabaster, granite, sandstone and other ‘rocks’ - many perspectives concerning the realities and philosophies of historical time come to mind. They invite the viewer to reflect three-fold on the mysteries of time buried within their form and substance. In the first instance, we can reflect on the place these sculptures occupy within the totality of Kapoor’s art, which over the past 40 years has contrived to occupy so many original and ambitious forms in both conception and construction. His works range in materiality from small, pure ground piles of pigment to massive stainless steel mirrors - convex and concave - that reflect and distort the world. There are works made with poured concrete, vast quantities of viscous wax, not to mention environmental sculptures that interfere with and comment on land or townscape. And then, of course, there is the notion of emptiness, which seems of central importance to Kapoor. Indeed, the pride of place he gives to the depiction of infinite space leads to the innate intangibility that lies at the heart of much of his production. These empty spaces invoke Kapoor’s heightened sensibility for the unknown abyss, both psychological and perceptual, that each thinking person, regardless of religion or faith, is confronted by as he or she searches for some kind of existential self-knowledge. In the sense that all artworks are mirrors of memory, as well as strategies towards cultural knowledge, the particular abstract form developed by Kapoor are part of a voyage of his own self-discovery which, like all outstanding artists, he has the ability to share with each of us.”

- Rosenthal, Norman. "Anish Kapoor, Stone Works." Anish Kapoor Stone. Istanbul: Sakip Sabanci Museum, 2013. 300-01. Print.

“When we look at Kapoor’s stone sculptures, executed over the last three decades - works fashioned from marble, onyx, alabaster, granite, sandstone and other ‘rocks’ - many perspectives concerning the realities and philosophies of historical time come to mind. They invite the viewer to reflect three-fold on the mysteries of time buried within their form and substance. In the first instance, we can reflect on the place these sculptures occupy within the totality of Kapoor’s art, which over the past 40 years has contrived to occupy so many original and ambitious forms in both conception and construction. His works range in materiality from small, pure ground piles of pigment to massive stainless steel mirrors - convex and concave - that reflect and distort the world. There are works made with poured concrete, vast quantities of viscous wax, not to mention environmental sculptures that interfere with and comment on land or townscape. And then, of course, there is the notion of emptiness, which seems of central importance to Kapoor. Indeed, the pride of place he gives to the depiction of infinite space leads to the innate intangibility that lies at the heart of much of his production. These empty spaces invoke Kapoor’s heightened sensibility for the unknown abyss, both psychological and perceptual, that each thinking person, regardless of religion or faith, is confronted by as he or she searches for some kind of existential self-knowledge. In the sense that all artworks are mirrors of memory, as well as strategies towards cultural knowledge, the particular abstract form developed by Kapoor are part of a voyage of his own self-discovery which, like all outstanding artists, he has the ability to share with each of us.”

- Rosenthal, Norman. "Anish Kapoor, Stone Works." Anish Kapoor Stone. Istanbul: Sakip Sabanci Museum, 2013. 300-01. Print.