June 7 - July 21 2018
La Caja Negra Gallery presents Anish Kapoor’s most recent work on paper. It is part of the important graphic work he has developed in recent years. As with sculpture, Kapoor fuses Easter and Western cultural influences in a work that explores primordial opposites such as openness and closeness or light and darkness with a dialectical approach: the shadow is always produced by light. This is one of the central motifs in Red Shadow. Just like in Kapoor’s previous work on paper, the conceptual link between Red Shadow and his sculpting work is clear. The intentions are similar, but they are expressed more nakedly here. In Kapoor’s work, color always absorbs light and seems to emerge from the shadows, helping to maintain the tension between opacity and transparency. Again, his color range echoes the pigments used in mystical and religious ceremonies of his native India. The result of this work is related to the tradition of modern art as well as to abstraction, though it deliberately strays from simple formalism. Kapoor uses the chromatic absolute to get the observer to connect at a corporeal, symbolic level with a space-time specific to the work that appears clearly separate from the material world it inhabits. In any case, Kapoor invites us to search not for the meaning of things, but for their purpose. The graphic technique used to extract light from the mass of color is entirely coherent with the work’s conceptual intentions.br/>
Anish Kapoor (1954, Bombay | India) In 1972 he moved to London, where he currently lives and exhibits in the most prominent international art centers. He studied at the Hornsey College of Art and later at the Chelsea School of Art, though his link to India has never been broken and he continues to travel there and to draw inspiration from its traditions. At the beginning of the 80s, Kapoor broke out as one of the most important English sculptors together with the likes of Richard Deacon, Tony Cragg and Anthony Gormley. Kapoor’s work consists of extremely simple, curved, usually monochromatic pieces where color is always intense. One of the materials he employs is powder pigment. Since the end of the 90s, Kapoor has produced large pieces such as Taratantara (1999), 35 meters high and installed in the flour mills of Baltic at Gateshead, or Marsyas (2002), a piece made from steel and polyvinyl that was installed at the Tate Modern’s Turbine Room. Kapoor represented the United Kingdom in the 1990 Venice Biennale and in 1991 he was awarded the prestigious Turner Prize. He has recently exhibited at the Paris Grand Palais, the Bilbao Guggenheim, the Boston Institute of Contemporary Art and Mexico City’s University Museum of Contemporary Art. In Spain, La Caja Negra has shown his graphic work since 2004.
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