In 1995, Anish Kapoor started working on 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. Since then, the artist has continued his exploration of reflective surfaces - in different forms, colours and materials. 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.

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 Sky Blue asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

In 1995, Anish Kapoor started working on 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. Since then, the artist has continued his exploration of reflective surfaces - in different forms, colours and materials. 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.

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 Sky Blue asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

In 1995, Anish Kapoor started working on 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. Since then, the artist has continued his exploration of reflective surfaces - in different forms, colours and materials. 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.

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 Sky Blue asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.

In 1995, Anish Kapoor started working on 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. Since then, the artist has continued his exploration of reflective surfaces - in different forms, colours and materials. 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.

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 Sky Blue asserts its presence within the room with its vivid colour, yet behaves beyond the confines of its surface and objectness.