The Lisson Gallery in London is hosting a major exhibition of new works from the Turner Prize winning artist Anish Kapoor. Spanning both the gallery’s spaces on Bell Street, the exhibition provides a thorough exposition of Kapoor’s most recent work. A complex and varied body of new explorations of experience and form, Kapoor’s show includes new concrete sculptures, his first major sculpture using a ready-made object and a room designed to induce a sensation of unease.

The first living artist to be the subject of a solo exhibition at London’s Royal Academy of Arts (2009), Kapoor, born in Bombay in 1954, first rose to prominence in the 1980s with his brightly coloured, pigment-coated sculptures of the seminal 1000 Names series. Later works saw large-scale installations negotiating and negating space, seeming to swallow the ground whole, yet, at other times, collapsing in on themselves into a void, or creating a new space hovering between the work and its viewer. Kapoor’s most recent artistic innovations continue this inevitable duality, contrasting the earthbound and the transcendental.

The Lisson Gallery exhibition presents for the first time a new series of earth works of varied formats: table sculptures modelling micro and macro-landscapes, wall and floor sculptures evoking the natural forms of rock and coral, and works on canvas coated with pigments mined from the earth in a gritty take both on painterly traditions and on Kapoor’s own earlier pigment sculptures and void forms.

Outside in the Lisson’s sculpture yard sits an imposing large-scale sculpture ‘Intersection’ that is made of Corten steel, the same material used both for ‘Memory’ – shown originally at the Guggenheim’s galleries in Berlin and New York – and for the canopy element in Kapoor’s Arcelor Mittal Orbit sculpture for London 2012 in Stratford.

By contrast, the final room of the Lisson show presents six perfect fibreglass hemispherical monochromes, hung classically on the walls of the gallery. The visual effect of these works varies from one of two-dimensional floating discs, to almost infinite depth revealed upon closer examination. These works, in their different way, also hark back to Kapoor’s earliest pigment pieces, where intense primary colours characterised his practice. The colours here are more complex mauves, aquas, purples and royal blues.

Images are courtesy of Anish Kapoor and Lisson Gallery.
Anish Kapoor at Lisson Gallery is on now until 10 November at both 29 & 52-54 Bell Street.