Yayoi Kusama: THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE

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Open: 10am-6pm Tue-Sat

16 Wharf Road, N1 7RW, London, UK
Open: 10am-6pm Tue-Sat


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Yayoi Kusama: THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE

Yayoi Kusama: THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE
to Fri 21 Dec 2018

Entry to the exhibition is by free timed ticket only. Click here to book.

THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE, a major exhibition of new works by Yayoi Kusama, takes place across the Wharf Road galleries and waterside garden.

Yayoi Kusama, INFINITY MIRRORED ROOM - MY HEART IS DANCING INTO THE UNIVERSE, 2018. Wood and glass mirrored room with paper lanterns 304 x 622.4 x 622.4 cm 119 5/8 x 245 1/8 x 245 1/8 in. Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA

Victoria Miro Yayoi Kusama 2018 6

Victoria Miro Yayoi Kusama 2018 7

Victoria Miro Yayoi Kusama 2018 5

Victoria Miro Yayoi Kusama 2018 4

The exhibition features new paintings, including works from the iconic My Eternal Soul series, painted bronze pumpkin and flower sculptures, and a large-scale Infinity Mirror Room, created for this presentation, Kusama’s twelfth exhibition at the gallery.

Throughout her career, Yayoi Kusama has developed a unique and diverse body of work that, highly personal in nature, connects profoundly with global audiences. 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. Paintings from the artist’s celebrated, ongoing My Eternal Soul series are on view at Gallery II, Wharf Road. 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.

The pumpkin form has been a recurring motif in Kusama’s art since the late 1940s. Coming from a family that made its living cultivating plant seeds, Kusama was familiar with the kabocha squash in the fields that surrounded her childhood home. 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. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. 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. 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. 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.

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. Just as Bodhidharma spent ten years facing a stone wall, I spent as much as a month facing a single pumpkin. 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. 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.

Like pumpkins, flowers have long been an important part of Kusama’s oeuvre and reflect the dualism between the natural and the organic found throughout her art. 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. 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.

The exhibition marks the debut of a new Infinity Mirror Room, which envelops visitors inside a large mirrored room with paper lanterns covered with polka dot patterns, which are suspended from the ceiling. The work continues Kusama’s exploration of the Infinity Mirror Room, a signature format for the artist since 1965, when she premiered Infinity Mirror Room – Phalli’s Field, a room with mirror-lined walls endlessly reflecting a floor covered with phallic-shaped soft fabric forms. She first used mirrors in combination with lights the following year in the sculptural piece Kusama’s Peep Show/Endless Love Show. In recent decades she has returned to this combination on a grander scale, creating room-based installations featuring suspended lights in a variety of formations and colours. Conveying the illusion of being unmoored in endless space, this large-scale work is the latest example of Kusama’s famed immersive environments. It offers a sense of infinity through the interplay of the rhythmic patterns of colourful spots covering the black spherical lamps and the surrounding mirrors.

Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA
Courtesy Ota Fine Arts, Tokyo/Singapore/Shanghai and Victoria Miro, London/Venice. © YAYOI KUSAMA
 
 

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