Acquired from the above by the present owner in 2006
The pristine surface of Parabolic Mirror, Asagi belies its laborious creation. Made from traditional Japanese lacquer, a material deftly exploited by Kapoor since 2000, the work’s tactile and mirror-like sheen has been achieved through a painstaking build-up of layers of lacquer. This paradox of process and finish, of what is seen and what remains undiscernible to the naked eye, is a vital component of Kapoor’s practice: “For every concrete object,” he explains, “there is an equal non-object, a dark and mysterious one. The space at the back of the cave. The space of the sewer and not the one outside the window” (Anish Kapoor in conversation with Donna de Salvo in: Anish Kapoor, London 2009, p. 403). Colour, too, carries strong symbolic importance in Kapoor’s work, and the reverberating blue tint of the present sculpture has been employed by the artist as “an acknowledgement of and homage to the mystical power of colour [and] its ability to create a sense of metaphysical transformation” (Thomas McEvilley, ‘The Darkness Inside a Stone’ in: Exh. Cat., Venice Biennale, British Pavilion, Anish Kapoor, 1990, pp. 19-20). Through carefully manipulating the physical and metaphysical properties of reflective concave surfaces, Kapoor toys with the limits of space itself, creating an illusory dimension which can be seen but lies forever just out of reach. Encompassing everything from outer space, psychological space, and the twenty-first century phenomenon of Cyberspace, Parabolic Mirror, Asagi lulls the viewer from a state of reflection to introspection, as it poetically conjures the impalpable and shadowy dimensions of the universe.
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