Od nekdaj so me zanimali predmeti, ki so dajali vtis, kot da niso narejeni, ampak kot da so od nekdaj tu. Globoko v sebi čutim, da ima umetnost določeno religiozno vlogo. Nekako ni dovolj, da je predmet narejen, izdelan, treba je iti dlje od same izdelave.
Anish Kapoor

V drugi polovici osemdesetih let prejšnjega stoletja indijsko-britanski kipar Anish Kapoor raziskuje preproste oblike monokromnih površin z različnimi optično-taktilnimi lastnostmi – od zrcalnih površin do visokonasičenih tekstur. Kapoor svoje objekte povezuje z ontološkimi temami, kar je razvidno iz naslovov del: The origin of the world, The hub of the things, to metafizično intenco pa podpira učinek prenicanja v globino barve, ki je posebej izražen v njegovih krožnih konkavnih skulpturah, v katerih fizični objekt skozi proces opazovanja postaja perceptivno-miselni fenomen. Še več, Kapoor vztraja pri miselnosti, da umetnost izvira “iz globlje simbolične ravni, … ki je neizogibno filozofska in 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”.
(...)