"The simple act of extending a point, predominantly by drawing with pen or pencil on paper, has paradoxically made line one of the most powerful forms of artistic expression in the history of mankind, yet over time it has taken on different meanings and uses relative to the era of its creation. Continuous or broken, curved or straight, free-floating or geometric, line can define boundaries, divide surfaces, create light and shade, and be used for communication."

Parasol Unit

 
Conrad Shawcross, Harmonic Manifold 1 (5:4), 2011.


One  of the pieces at the parasol Unit- Lines of Thoughts

Some of my work at the private view of V in Clapham last night.

 

Some of my work with extruded coils.

Protection/ over-protection.

Looking at the way Anthony Caro shows his work on/ off the plinths.

The weaver bird's nest i found in Mauritius

A group of sculptures that Kapoor exhibits together at the Royal Academy for the first time (Greyman Cries, Shaman Dies, Billowing Smoke, Beauty Evoked, 2008-09) began as a series with working titles such as Between Shit and Architecture or Electronic Ruins. These are 'printed' works, prodigiously produced through a computerized, automated process, whereby a three-dimensional printer lays coil upon coil of raw concrete, like anonymous excrement or architectural debris, the two bound together in the working title that leads Homi K. Bhabha to interpret the work as a metaphor of urban life.(7) What is unusual about these works in the context of Kapoor's oeuvre is their soft, muffling tissue that evokes handwork and pre-industrial craft, turning on its head the romanticism and organicism of works that used similarly-looking materials to critique hard-edged, impersonal abstraction, and updating the idea of the self-made, technologically-produced object. Kapoor's humble industrial material is poured out of the machine in its raw state, much like Pollock's paint was poured out of the can, producing what seems like a mere record of the event. 'To make art without the hand is a goal that sets art beyond expression,' affirms Kapoor, faithful to a tradition that demands from the artist a work purely of the mind, even though the reasons change with the times. And he positions his electronically-generated sculptures back on their pedestals: plywood palettes, humble waste material themselves too.
Anish Kapoor, Greyman Cries, Shaman Dies, Billowing Smoke, Beauty Evoked, 2008-09, detail, Royal Academy of Arts, London, 26 September - 11 December 2009, photograph by Styliane Philippou