Anish Kapoor’s Exhibition in New York: From Vibrant Oils to the Mystique of Vantablack

Anish Kapoor’s spellbinding exhibition in New York showcases vibrant oil paintings pulsating with life, gouache drawings bridging the realms of biology and architecture, and sculptures crafted from the innovative Vantablack material that defy the very essence of visibility itself.

Kapoor stands as one of the most influential sculptors of his generation. His exhibition at Lisson Gallery not only showcases the evolution of his artistic practice but also introduces a layer of intrigue through the U.S. debut of his Vantablack works, contributing to the ongoing dialogue between art and technology.

At 504 West 24th Street, Kapoor’s prowess in painting takes center stage. Vibrant and explosive large-scale oil paintings, such as the Ein Sof series, pulsate with expressive brushwork, oscillating between corporeal definition and abstraction. These paintings delve into the fundamental functions and poetics of life, revealing intimate and spiritual tensions.

One standout piece, Untitled (2023), evolves from Kapoor’s iconic 1992 work, challenging the concept of the white gallery wall with a black oval void within a pregnant form. These paintings captivate, transcending conventional boundaries with their luminous crimson bursts.

Adjacent to the paintings, Kapoor presents a dedicated section for new gouache drawings. In these intricate works on paper, biological and architectural elements converge in fissures, openings, and passages that dissolve into impenetrable oblivion. The drawings pulsate with primitive, emotional effusions, radiating a transcendent luminosity. This juxtaposition of the biological and the architectural adds depth and nuance to Kapoor’s diverse artistic language.

At Lisson’s 508 West 24th Street space, Kapoor’s sculptures crafted with Vantablack take center stage. This groundbreaking nano-technology material, developed by Surrey NanoSystems, helps Kapoor create forms that transcend conventional definitions and explore the mystical obliteration accompanying the transcendence of objects. The sculptures, seemingly appearing and disappearing before the viewer’s eyes, echo the magnetic pull of total abstraction.