Anish Kapoor

Last night I watched the Anish Kapoor documentary, which was part of BBC1's Imagine series, in which Alan Yentob followed the artist for the 12 months preceding the opening of his solo show at the Royal Academy exhibition. I find myself captivated by his works, with their shiny curves and saturated colours. I especially love the giant curved mirrors polished to invisibiity. I love the idea that during the day visitors mill around, cooing at their reflections and that of the green grass and the blue sky and at night it stands there, eery and alone, with just a stray sheep passing before it, staring at its reflection in the night sky.

I loved the way in which many of his art works seem to collapse form, colour and material, a big pile of cobalt blue pigment here, blood red drips of wax there. Kapoor is an artist who, more than anything is in touch with his materials: he allows rusty steel to do what it does best, rust. The interiority of many of his works is fascinating. As Yentob observed, Barbara Hepworth and Henry Moore had holes in their pieces but these make you think about space, and seem to be almost 4D - with an experimential element of time as you ponder it, walk around it and become consumed by it.

We often hear about Damien Hirst's giant warehouse operations, but this was a rare insight into another modern day artist's workshop. We saw his working practices and his relationship with his technicians, who at times have to almost mindread him: No mean feat considering he says he doesn't really know how his work will turn out until it is finished, and, who claims not to think too much or to have too much to say. Like with Bacon, who always said his works were just down to pure chance (utter bollock when you consider that he sketched frantically, kept cuttings of pictures and continually reproduced and developed motifs in his art), Kapoor is clearly very much in control of every stage of the development of his works, even if he is open to change and accidents and stages opportunities for randomness. It was also interesting to see how he deals with the practicalities of working on such a grand scale.

I've not yet been to the Royal Academy exhibition but now I'm inspired to go. I loved the way in which he has sullied the pure white classical space -- splattering red wax over door lintices and driving a runaway train train of blood-red molten wax through an entire room. Kapoor is the first living artist to have his own major exhibition at the gallery. Let's hope this is the start of an exciting new trend.