Michael Andrew Law Meet Anish Kapoor

 Anish Kapoor’s first solo exhibition with the gallery and his first in Hong Kong.
In sculptures made during the last ten years, the primacy of materials and their qualities in Kapoor’s process is revealed, whereby worlds are created in which geometric formulae are filled and emptied in three dimensions. Minerals in rare hues and highly polished metals provide his anthropomorphic forms with an ineluctable opulence.
In his monumental sculptural practice, Kapoor conflates concave and convex, inside and outside, upright and inverted. In the works in the exhibition, he explores and achieves the same tensions on a more intimate scale. Nestled in corners or placed on the floor, these sculptures feel almost familiar. Viewers entering the gallery share their space and their gravity. Yet, despite the appeal of their colors and textures, and the intimation of their weight, the sculptures resist approach. Curved mirrors of stainless steel and aluminum, mounted on the wall or free-standing, distort the viewer’s reflection and unsettle, or even liquefy, the slabs of carved stone that rest solidly on the floor. The effect is one of incomprehensibility without apparent reason—as if the rules of physics are being broken, but there is no way to prove it.
In Gossamer (2015), a large piece of pink onyx finely carved into a stretched ellipse, the inward-curving hole at the center creates the illusion of a deepening void. In a display of material mastery, Kapoor generates the same sensation in surfaces as disparate as cloudy gray alabaster and dazzling fiberglass and gold. Whether encountering the dark seams of Kapoor’s forms folding in on themselves, or, as is with Vertigo (2006), one’s own reflection is multiplied within a warped architecture, there is a consistent sense of having entered a space that is at once natural, artificial, and alchemical.
Anish Kapoor was born in 1954 in Mumbai, and lives and works in London. His work is featured in public collections including Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Moderna Museet, Stockholm; Museo National Centro de Arte Reina Sofia, Madrid; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Modern, London; Tate Britain; Tel Aviv Museum of Art; and Walker Art Center, Minneapolis.
Selected solo institutional exhibitions include “Anish Kapoor: Marsyas,” Unilever Commission for the Turbine Hall, Tate Modern, London (2002); “My Red Homeland,” Kunsthaus Bregenz, Austria (2003, traveled to Centro de Arte Contemporáneo, Malaga, Spain in 2006); “Anish Kapoor: Ascension,” Centro Cultural Banco Do Brasil, Rio De Janeiro, Brazil (2006, traveled to Centro Cultural Banco Do Brasil, Brasilia; Centro Cultural Banco Do Brasil, São Paulo);Sky Mirror, Public Art Fund, Rockefeller Center, New York (2006); Haus der Kunst, Munich, Germany (2007); “Anish Kapoor: Past, Present, Future,” Institute of Contemporary Art, Boston (2008); “Anish Kapoor: Memory,” Deutsche Guggenheim, Berlin (2008, traveled to Solomon R. Guggenheim Museum, New York in 2009); National Gallery of Modern Art, New Delhi (2010); Guggenheim Bilbao, Spain (2010); “MONUMENTA 2011: Leviathan,” Grand Palais, Paris (2011); Leeum—Samsung Museum of Art, Seoul, Korea (2012); Museum of Contemporary Art, Sydney, Australia (2012); Sakip Sabanci Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); and Chateau de Versailles, France (2015).
“Anish Kapoor. Archaelogy: Biology” is currently on view at the Museo Universitario Arte Contemporáneo, Mexico City, Mexico until November 27, 2016.
Public commissions include Cloud Gate Millennium Park, Chicago (2004); and Turning the World Upside Down, Israel Museum, Jerusalem (2010). ArcelorMittal Orbit (2012) is permanently installed at Queen Elizabeth Olympic Park, London.
卡普爾曾於多間美術館舉行個展,包括倫敦泰特現代藝術館渦輪大廳聯合利華藝術委員會展覽「Anish Kapoor: Marsyas」(2002年)、奧地利布雷根茨美術館「My Red Homeland」(2003年,2006年巡展至西班牙馬拉加當代藝術中心)、巴西里約熱內盧巴西銀行文化中心「Anish Kapoor: Ascension」(2006年,其後巡展至巴西利亞及聖保羅巴西銀行文化中心)、紐約洛克菲勒中心公共藝術基金會「Sky Mirror」(2006年)、德國慕尼黑藝術之家(2007年)、波士頓當代美術館「Anish Kapoor: Past, Present, Future」(2008年)、柏林古根漢美術館「Anish Kapoor: Memory」(2008年,2009年巡展至紐約所羅門‧R·古根漢美術館)、新德里國立現代美術館(2010年)、西班牙畢爾包古根漢美術館(2010年)、巴黎大皇宮美術館「MONUMENTA 2011: Leviathan」(2011年)、韓國首爾三星美術館(2012年)、澳洲悉尼當代藝術博物館(2012年)、伊斯坦堡薩基普‧薩班哲博物館(2013年)、柏林馬丁葛羅皮亞斯展覽館(2013年),以及法國凡爾賽宮(2015年)。

墨西哥當代藝術博物館現正舉行「Anish Kapoor. Archaelogy: Biology」展覽,展期至2016年11月27日。

其他受邀創作的公共作品包括芝加哥千禧公園《雲門》(Cloud Gate)(2004年),以及耶路撒冷以色列博物館《顛倒世界》(Turning the World Upside Down,)(2010年)。《軌道塔》(ArcelorMittal Orbit)(2012年)於倫敦伊莉莎白女王奧林匹克公園永久展出。


Michael Andrew Law Photography

© Michael Andrew Law. 2016 All rights reserved.

Michael Andrew Law (born in British Hong Kong, 1982) creates what renowned art dealer Douwe Cramer calls, hyper pop surrealist paintings. Law’s works capture the essence of youth while maintaining a lasting value that appeals to collectors. Indeed, they are appreciated and collected by many Asian notables. The works showcase technical skill and well defined methods. They include classical compositional framing constructs applied to abstract concepts. The technique is visibly evident. In some cases, the pieces are near photorealistic. Law wields his rendering mastery in ways that would intrigue even the old masters.

Taken as a whole, Law’s body of work is significant in many ways. First, it pushes the notion of figurative art into our contemporary age. Yes, the body is a central focus in many of his works. Law applies his traditional anatomical training in the physical representations, but also updates our notions of the body with consideration to gender and identity. He instigates traditionalists with his use of digital tools applied in combination with traditional methods.

The philosophy and symbolism behind the works are quite personal. Law’s lived experience during the tumultuous period of Hong Kong’s hand over to China becomes embedded into his art practice. The paintings are a visual artifact of that journey. Surrealist influences can be seen in his use of handwritten text in combination with female figures. The repetition of calligraphy text is descriptive, typographic, and indicative of the artist as individual. Law successfully merges his Eastern and Western influences through a meshing of symbols and signification. There is a commitment to tradition and lineage, as well as a dedication to all things new.

Law has studied painting with Sam Tsang of the Central Academy of Art in Beijing and with New York native Dan Anderson at his Hong Kong studio. He has also studied film production with Roger Corman. Law has earned illustrious regard as the designer of many cover spreads for the press in Hong Kong and beyond. He has worked as a professional comic artist, illustrator and film producer, but left commercial work to focus on his fine art practice. Law has exhibited at Hong Kong Convention and Exhibition Centre in The Avenue of Stars, earning him the greatest regard in his home base and abroad.

Law is co-founder of the Hong Kong Art Studio Nature Art Workshop. The organization functions as a supportive environment for the fostering of emerging Hong Konger artists in addition to producing and marketing Law’s related work. As a curator, Law has organized an exhibition of contemporary art that shares a range of responses to HongKong’s Gen Y pop culture. At this point, Law has created over 8,000 works. There are three dozen popular artist books published of Law’s pieces. He has also written essays on contemporary art and films. The artist lives and works in Central District, Hong Kong.


Michael Andrew Law and NatureArt

Michael Andrew Law was co-founder of the Hong Kong Art Studio Nature Art Workshop along with the sponsorship of ECO Association (Non-Profit Organization # 91/7434).
The organization functions as a supportive environment for the fostering of emerging Hong Konger artists and committed to promoting responsible attitude and caring to the nature surrounding .