Looking at my photographs from the exhibition reminds me that there was a room of carved stone blocks, about three feet in any direction, with voids of various sizes in their centers, so that as you peered in you didn’t know just how deep or shallow the negative space was. There was a disc the diameter of an armspan covered in midnight blue pigment; you couldn’t tell if it was concave or convex and you didn’t want to get too close because of the powdered pigment on its surface. And there were piles of that same midnight blue pigment; looking at these I remember thinking, “Yves Klein at a spice market.”
I’d never heard of this artist, but I responded to the simplicity and materiality of his work. Since then I’ve encountered his work, as I'm sure you have, with increasing frequency. The surfaces are always interesting; and more than most dimensional work, his forms challenge your spatial perceptions of dimension and direction.
These concerns continue in two recent exhibitions at the Barbara Gladstone galleries in New York City. Red predominated in Gladstone’s 24th Street “flagship” space (the show is now closed); reflection and distortion in the 21st Street space, where the show remains on view until August 15.
Anish Kapoor at Barbara Gladstone. My shot of the installation is above, showing Drip, Double Corner, and in the foreground, Bloodstick. All are resin and paint
A gallery shot of Bloodstick is below, where you get a better sense of the color and of the scale, some 401.57 inches--a little over 33 feet long