English sculptor Anish Kapoor, one of the greatest active artists in our time, was born in India in 1954. Having built an impressive oeuvre over the past three decades, today Kapoor stands out as a sculptor in the strictest sense of the word: he has introduced sculpture in a new aesthetic and technical scale by incorporating techniques – appropriated from architecture, aeronautics, and the heavy industry – to the support.
Anish Kapoor’s forms and sculptures are apparently deceiving; they seem quite simple in terms of form, yet they convey, each of them, a dizzying complexity of natural elements, technique, aesthetic and finishing. Brazilian poet Antonio Cicero once told me that finishing accounts for 50% of a poetic creation.
I have become deeply aware of this fact. In Kapoor’s work, it accounts for even more. For example, When I am Pregnant, is a work shrouded by a thin and fastidiously finished layer of plaster; it is a subtle protuberance on the wall, enunciating a bulging form that in itself heralds creation and the sublime. It is art, wanting to be born.
(Source: Cultural Project of Banco do Brasil, 2006)
According to the ideas in the text, the word that adequately completes the sentence “Kapoor’s work is apparently simple; __________, it actually contains rich complexity” is
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