Oduvijek su me zanimali predmeti koji su davali dojam ne da su napravljeni, već da su oduvijek tu. Duboko u sebi osjećam da umjetnost ima neku religijsku funkciju. Nekako nije dovoljno da se predmet izradi, oblikuje, valja otići dalje od samog oblikovanja.
Anish Kapoor

U drugoj polovici 80-ih indijsko-britanski kipar Anish Kapoor istražuje jednostavne forme monokromnih površina različitih optičko-taktilnih svojstava – od reflektirajućih površina do visokozasićenih tekstura. Svoje objekte povezuje s ontološkim temama, što je čitljivo i iz naslova radova “The origin of the world” i “The hub of the things”, a tu metafizičku intenciju podržava efekt poniranja u dubinu boje, posebno izražen u njegovim kružnim konkavnim skulpturama u kojima fizički objekt kroz proces promatranja postaje perceptivno-misaoni fenomen. Štoviše, Kapoor inzistira na utemeljenju umjetnosti u “dubljoj simboličkoj razini. koja je neizbježno filozofska i religiozna”.
(...)

I have always been interested in objects that have this sense about themselves — not that they were made, but that they were always there. I feel deeply that art has a kind of religious function. Somehow it is not enough that an object is made, that it is fashioned, there is need to go beyond the fashioning.
Anish Kapoor

In the second half of the 1980s, Indian-British sculptor Anish Kapoor experimented with simple forms with monochromatic surfaces of different optical and tactile properties – from reflective to highly saturated ones. His work ventures into ontological issues; just take a look at the titles The Origin of the World and At the Hub of Things. This metaphysical direction is underlined by diving into the depth of colour, which is particularly clear in his circular concave sculptures. There observation seems to transform a material object into a perceptual/contemplative phenomenon. Moreover, Kapoor seems to insist on anchoring his art in a deeper symbolic level that “is necessarily philosophical and religious”.
(...)