While Newborn comes across as a reformulated resurgence of The Newborn (1920) of Constantin Brancusi of the Museum of Modern Art, it concurrently lends itself as an allegory of the retina. The sensible elements of which it is made up cannot lose the opacity which defines them as sensory given, and open themselves to some intrinsic connection, to some law of conformation governing them all.” 2 The proliferation of chimerical imagery upon Newborn epitomizes the lyricism of the work, while simultaneously conjuring up the thoughts of the phenomenological philosopher Maurice Merleau-Ponty on visuality, perception and lived experiences: “A shape is nothing but a sum of limited views, and the consciousness of a shape is a collective entity. Courtesy of the artist and Lisson Gallery.Īs the observer rotates around this nearly ten-foot high edifice in order to absorb the provocative, ever-shifting imageries of the self and its milieu, generated through the lustrous surfaces of the work, from two diametrically opposite perspectives the sculpture becomes transfigured into a virtually triangular form nesting atop a spherical plinth. As the four other glowing sculptures in turn reflect Newborn that contains their own reflections, the visitor is inundated with an epiphany of reflectivity.Īnish Kapoor, Newborn, 2019. Two symmetrically interjected, concave insets formulate the upper hemisphere of this freestanding, sculptural mirror. The seductive, shimmering, stainless-steel surfaces of Newborn of Anish Kapoor reflect their surrounding space, generating upon a spherical support aberrant imagery of the gallery’s interior architecture, the other four sculptures on view and the passersby. Courtesy of the artist and Lisson Gallery. Anish Kapoor, installation view, Lisson Gallery on West 24th Street, New York.
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