Renowned sculptor Anish Kapoor has opened a new exhibition at London’s Hayward Gallery, showcasing a striking collection of large-scale works alongside rarely seen paintings. The show, part of a global series of presentations scheduled over the coming years, features many of Kapoor’s signature vermilion sculptures alongside installations exploring themes of space, perception, and the human body.

Kapoor, 72, personally guided visitors through the exhibition on a warm morning, offering insights into his creative process and the conceptual underpinnings of the works. The London-based artist discussed the significance of the South Bank as a cultural landmark, reflecting on its postwar origins and the utopian aspirations that once shaped the area. Kapoor, who has lived in London for five decades after initially coming from Istanbul and spending time in Israel, expressed a deep personal connection to the city and its evolving artistic landscape.

The exhibition highlights Kapoor’s ongoing engagement with the physical and metaphysical nature of sculpture. Notable pieces include massive red forms resembling inflated inner tubes or volcanic structures, as well as others that play with the perception of depth and void. One of the most acclaimed works on display is "Descent into Limbo" (1992), an optical illusion that appears as a simple dark mat but is in fact a deep cavity painted blue. Kapoor describes these explorations as an inquiry into the “non-object”—the spatial void considered as tangible and present as any solid form.

Despite some of the exhibition’s visceral and unsettling imagery, Kapoor emphasizes that his intent is not to shock or horrify. He distances his work from horror genres, focusing instead on fundamental aspects of human experience, such as embodiment and the perception of empty space. He cites early 20th-century sculptor Wilhelm Lehmbruck, praising figures with closed eyes that evoke inward reflection and inner space, which resonates with Kapoor’s interest in the interplay between material presence and absence.

Kapoor’s discussion also touched on the biblical story of Abraham’s sacrifice as a recurring motif, describing it as an “addictive” theme but resisting reductive interpretations or imposed messages. He expressed skepticism about art with overt narratives, asserting that contemporary art remains a rare domain for radical expression amid the dominance of global capitalism.

In addition to his creative work, Kapoor revealed that he undergoes ongoing psychoanalysis, deeming it a valuable process for self-reflection that parallels his studio practice. He described both as disciplined routines that provoke deep questions about purpose, meaning, and emotion.

The artist also addressed recent controversies involving exclusive rights to the ultra-black pigment Vantablack. Kapoor declined to engage with fellow artist Stuart Semple’s provocations following Semple’s brief name change to "Anish Kapoor" and said he remains detached from the dispute. Responding to critiques about assistant involvement, Kapoor affirmed that while he works with a team, all details in his sculptures—including paint application—are personally supervised.

Kapoor’s latest show thus offers an intimate look at an artist who continues to challenge the boundaries of materiality and perception while maintaining a complex dialogue between personal history, psychoanalysis, and cultural context. The exhibition remains open at the Hayward Gallery, inviting visitors to experience its immersive and sometimes unsettling manifestations firsthand.