Anish Kapoor</a>. The three suites were sequentially produced since 2007 and each features nine color etchings.<br><br>Anish <a target="_blank" href=https://www.mutualart.com/Exhibition/Anish-Kapoor--Shadows-I--II--III/"/Artist/Anish-Kapoor/DE9963723A168503">Kapoor is widely known for his large scale sculptures of geometric forms made of pure pigment, stainless steel, and colored resin that engage the viewer in a polarizing experience: they appear solid and intangible, dark and light, empty and full. In these print series Kapoor is engaging the same dichotomies but on a two dimensional surface.<br><br>He began with the aim of achieving an intense, rich color field using two overlaying colors. Kapoor created a digital image of gradated tonal forms which were then transferred to two photopolymer plates with halftone screens. However, when the two plates were printed on top of each other a moiré occurred because the dots were not perfectly overlaid. Most technicians would discard this as a mistake, but Kapoor embraced it as a “happy accident” and exploited this effect forcing it to occur in each print. Interestingly, each print in the edition is slightly different because the moiré varies depending on temperature, humidity, and pressure of the printing press.<br><br>It is the combination of intense pigment and moiré that lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if pulled into some vortex." />
Anish Kapoor: Shadows I, II, III
Nov 18, 2010 - Jan 08, 2011
Carolina Nitsch is pleased to present an exhibition of Shadows I, II & III by Anish Kapoor. The three suites were sequentially produced since 2007 and each features nine color etchings.
Anish Kapoor is widely known for his large scale sculptures of geometric forms made of pure pigment, stainless steel, and colored resin that engage the viewer in a polarizing experience: they appear solid and intangible, dark and light, empty and full. In these print series Kapoor is engaging the same dichotomies but on a two dimensional surface.
He began with the aim of achieving an intense, rich color field using two overlaying colors. Kapoor created a digital image of gradated tonal forms which were then transferred to two photopolymer plates with halftone screens. However, when the two plates were printed on top of each other a moiré occurred because the dots were not perfectly overlaid. Most technicians would discard this as a mistake, but Kapoor embraced it as a “happy accident” and exploited this effect forcing it to occur in each print. Interestingly, each print in the edition is slightly different because the moiré varies depending on temperature, humidity, and pressure of the printing press.
It is the combination of intense pigment and moiré that lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if pulled into some vortex.
Anish Kapoor is widely known for his large scale sculptures of geometric forms made of pure pigment, stainless steel, and colored resin that engage the viewer in a polarizing experience: they appear solid and intangible, dark and light, empty and full. In these print series Kapoor is engaging the same dichotomies but on a two dimensional surface.
He began with the aim of achieving an intense, rich color field using two overlaying colors. Kapoor created a digital image of gradated tonal forms which were then transferred to two photopolymer plates with halftone screens. However, when the two plates were printed on top of each other a moiré occurred because the dots were not perfectly overlaid. Most technicians would discard this as a mistake, but Kapoor embraced it as a “happy accident” and exploited this effect forcing it to occur in each print. Interestingly, each print in the edition is slightly different because the moiré varies depending on temperature, humidity, and pressure of the printing press.
It is the combination of intense pigment and moiré that lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if pulled into some vortex.
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Carolina Nitsch is pleased to present an exhibition of Shadows I, II & III by Anish Kapoor. The three suites were sequentially produced since 2007 and each features nine color etchings.
Anish Kapoor is widely known for his large scale sculptures of geometric forms made of pure pigment, stainless steel, and colored resin that engage the viewer in a polarizing experience: they appear solid and intangible, dark and light, empty and full. In these print series Kapoor is engaging the same dichotomies but on a two dimensional surface.
He began with the aim of achieving an intense, rich color field using two overlaying colors. Kapoor created a digital image of gradated tonal forms which were then transferred to two photopolymer plates with halftone screens. However, when the two plates were printed on top of each other a moiré occurred because the dots were not perfectly overlaid. Most technicians would discard this as a mistake, but Kapoor embraced it as a “happy accident” and exploited this effect forcing it to occur in each print. Interestingly, each print in the edition is slightly different because the moiré varies depending on temperature, humidity, and pressure of the printing press.
It is the combination of intense pigment and moiré that lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if pulled into some vortex.
Anish Kapoor is widely known for his large scale sculptures of geometric forms made of pure pigment, stainless steel, and colored resin that engage the viewer in a polarizing experience: they appear solid and intangible, dark and light, empty and full. In these print series Kapoor is engaging the same dichotomies but on a two dimensional surface.
He began with the aim of achieving an intense, rich color field using two overlaying colors. Kapoor created a digital image of gradated tonal forms which were then transferred to two photopolymer plates with halftone screens. However, when the two plates were printed on top of each other a moiré occurred because the dots were not perfectly overlaid. Most technicians would discard this as a mistake, but Kapoor embraced it as a “happy accident” and exploited this effect forcing it to occur in each print. Interestingly, each print in the edition is slightly different because the moiré varies depending on temperature, humidity, and pressure of the printing press.
It is the combination of intense pigment and moiré that lends these prints a three-dimensional quality akin to Kapoor’s sculpture. The viewer is constantly pulled back and forth between pure color and bright white as if pulled into some vortex.
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Minh Lan Tran works</a> to give form to such presences in order to lay them to rest. The artist crafts her own egg tempera in a process borrowed from traditional techniques used for early Byzantine icon paintings—an era in which theories of the image and the ethics of representing the divine began to be negotiated. She breaks the methods apart as she shreds, burns, and battles her surfaces that look like the slits of a veil. Tran’s titles suggest innards and fault lines on the body, the matter that arises after cataclysmic disruptions fissure the mind. Engaging in a politics of utterance, the artist aims to restore a power to signify, and give birth to an expression of experience by experience. She listens for the divine utterance that she seeks to make manifest, flirting with the bond between the flesh and the idea, between the image and the spirit that experiences of the visible world disclose. If consciousness is a shield against the wound that constitutes desire and being, this lack is beyond anything which can represent it; it is only ever represented as a reflection on a veil.</p><p><br></p>" />
Arcadia Contemporary </a> is delighted to present "Recent Paintings," a solo exhibition of 25 new oil paintings by Malcolm T. <a target="_blank" href=https://www.mutualart.com/Exhibition/Anish-Kapoor--Shadows-I--II--III/"/Artist/Malcolm-Liepke/3977A04541956BF8">Liepke.
Internationally recognized as one of the most influential figurative painters in the world, Malcolm T. Liepke</p><p>continues to captivate collectors with his evocative depictions of the human experience. With a masterful use of color and his signature brushwork, Liepke creates intimate and emotionally charged scenes that explore universal themes of connection, solitude, and vulnerability. </p><p>This long-awaited exhibition at Arcadia marks the artist's first since 2019 and will reaffirm his status as one of the foremost voices in contemporary representational painting. </p><p><br></p>" />
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