Born in Matsumoto City, Japan in 1929, she studied painting in Kyoto before moving to New York in the late 1950s, and by the mid-1960s had become well known in the avant-garde world for her provocative happenings and exhibitions. Conveying the illusion of being unmoored in endless space, this large-scale work, the latest example of Kusama’s famed immersive environments, offers a sense of infinity through the interplay of the rhythmic patterns of colourful spots covering the black spherical lamps and the surrounding mirrors.įor almost seventy years Yayoi Kusama has developed a practice, which, though it shares affiliations with movements such as Surrealism, Minimalism and Pop Art, resists any singular classification. The exhibition marks the debut of INFINITY MIRRORED ROOM – MY HEART IS DANCING INTO THE UNIVERSE which envelops visitors inside a large mirrored room with paper lanterns covered with polka dot patterns, which are suspended from the ceiling. At once simplified and fantastical, these forms, their surfaces covered with polka-dotted planes of vivid colour, are designed to be viewed from multiple angles, encouraging audiences to move around them. Sharing the artist’s distinctive bold palette, large-scale, painted bronze flower sculptures are exhibited outside in the gallery’s waterside garden where, characteristically, they straddle a line between nature and exuberant artifice. Like pumpkins, flowers have long been an important part of Kusama’s art. Varying from evocations of single pumpkins on patterned grounds to almost abstract, vertical forms, pulsating with energy, each painting carries its own distinct mood and character. I regretted even having to take time to sleep.’ The works on display, created using the same palette of red, yellow and green, reveal myriad variations of the pumpkin form and its pattern of repeated dots. Just as Bodhidharma spent ten years facing a stone wall, I spent as much as a month facing a single pumpkin. Kusama has painted pumpkins since childhood, and in Infinity Net recalls that ‘I would confront the spirit of the pumpkin, forgetting everything else and concentrating my mind entirely upon the form before me.
The pumpkin sculptures integrate many key aspects of Kusama’s practice: the repeating pattern of dots, connotations of growth and fertility and a palette of singular vibrancy. It was in early childhood that Kusama also began to experience the terrifying hallucinations that left her ‘dazzled and dumbfounded’ by repeating patterns that engulfed her field of vision, a process she referred to as obliteration. That and its solid spiritual balance.’ Works on display include new bronze pumpkin sculptures, painted in a vibrant palette of red, yellow and green, their curvaceous forms adorned with tapering patterns of black dots that create a sophisticated geometry. What appealed to me most was the pumpkin’s generous unpretentiousness. But I was enchanted by their charming and winsome form. Writing about the significance of pumpkins in her 2011 book Infinity Net: the Autobiography of Yayoi Kusama, the artist notes: ‘It seems that pumpkins do not inspire much respect. The artist’s family cultivated plant seeds in Matsumoto, and she was familiar with the kabocha squash in the fields that surrounded her childhood home. The pumpkin form has been a recurring motif in Kusama’s art since the late 1940s. Joyfully improvisatory, fluid and highly instinctual, the My Eternal Soul paintings abound with imagery including eyes, faces in profile, and other more indeterminate forms, including the dots for which the artist is synonymous, to offer impressions of worlds at once microscopic and macroscopic.
Victoria 3 art series#
Paintings from the artist’s celebrated, ongoing My Eternal Soul series are on view at Gallery II, Wharf Road. Continuing to address the twin themes of cosmic infinity and personal obsession, the new works in this exhibition are testament to an artist at the height of her powers as she approaches her 90th birthday.
Throughout her career, Yayoi Kusama has developed a unique and diverse body of work that, highly personal in nature, connects profoundly with global audiences.
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