Too elegant, too tactical, too perfect: such were the characteristics of Anish Kapoor’s hyperreflective sculptures of the unforgettable and exuberant exhibition held at Lisson Gallery in New York some four years ago. With immaculately polished surfaces, those optical devices, whether immense or human in scale, appeared as matchless catalysts for arresting phenomenological inquiries into the parameters of vision and the paradoxes of visual representation.
The working of his thought is thus concerned with that slow transformation of the notion of space which, beginning as a vacuum chamber, as an isotropic volume, gradually became a system inseparable from the matter it contains and from time. Paul Valery, Introduction To The Method Of Leonardo Da VinciMy eye, tuning towards the imaginary, will go to any wavelengths for its sights. Stan Brakhage, Metaphors On VisionTHERE IS A METAPHOR recurrent in contemporary discourse on the nature of consciousness: that of cinema. And there are cinematic works which present themselves as analogues of consciousness