Anish Kapoor
British-Indian artist (born 1954)
The numbers
2 + 5 = 7
Lo Shu grid
Missing: 6, 8. Present digits repeat to show how many times they occur.
Life path 7 — The Seeker
Seven is the analyst and the mystic at once — the tradition assigns it both, and does not treat that as a contradiction. It is read as the number of depth, solitude and the refusal to accept a surface explanation. Its difficulty is distance: the withdrawal that makes the thinking possible is read as coldness by everyone outside it, and 7 is described as being misunderstood more often than it is disliked.
Complete lines
Line of Reason
A complete line in the grid.
Line of Expression
A complete line in the grid.
Line of Resolve
The 1-5-9 diagonal complete. Read as determination that survives the middle of a project, when the initial energy has gone and the result is not yet visible.
Line of Sensitivity
The 3-5-7 diagonal complete. Read as emotional and intuitive range — the line practitioners associate with artists and with people who register what is unsaid.
Cooperation
A complete line in the grid.
What is missing
Missing 6
Read as a complicated relationship with obligation — either avoiding it or over-shouldering it, rarely a settled middle.
Missing 8
Read as discomfort with power and money — not incapacity, but an unwillingness to claim authority openly.
Vedic — Ank Jyotish
Moolank 3 comes from the day of the month alone; Bhagyank 7 from the whole date. They differ, which is the ordinary case — the two numbers answer different questions.
Guru
Jupiter. Expansion, teaching, counsel. Read as the most benefic assignment in the set.
Bhagyank uses the same arithmetic as the Western life path, so the two will always agree. That is not two traditions confirming each other — it is one calculation under two names.
In their words
Architects have always hoped to find a way to skip that stage between design and finished building.
Is it my role as an artist to say something, to express, to be expressive? I think it's my role as an artist to bring to expression;it's not my role to be expressive. I've got nothing particular to say, I don't have any message to give anyone. But it is my role to bring to expression, let's say, to define means that allow phenomenological and other perceptions, which one might use, one might work with, and then move towards a poetic existence.
Red is a colour I've felt very strongly about. Maybe red is a very Indian colour, maybe it's one of those things that I grew up with and recognise at some other level. Of course, it is the colour of the interior of our bodies. Red is the centre.
I am interested in sculpture that manipulates the viewer into a specific relation with both space and time. Time, on two levels; one narratively and cinematically as a matter of the passage through the work, and the other as a literal elongation of the moment. This has to do with form and colour and the propensity of colour to induce reverie. Consequently, I hope, an elongation of time. Space is as complex, the space contained in an objectmust be bigger than the object which contains it. My aim is to separate the object from its object-hood.
Jerusalem is all about a very special relationship between the ground and the sky. This work attempts to bring the two together.
Do you know there's a wonderful Christian idea in which Thomas stretches his hands out to try to touch Christ's wound and Christ says 'Noli me tangere' (do not touch me). What your eyes see your hands will always try to affirm. Much of dealing with the non-material is about this confusion between the hand and the eye, the ear and the eye, when the thing that you look at is uncertain, your body demands a kind of readjustment, it demands certainty. Something happens to where you are, to space; time changes. Time, I think, becomes slower. The mystical truth of art is time.
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