Yayoi kusama

Biography[ edit ] Early life: Her mother was apparently physically abusive[9] and Kusama remembers her father as "the type who would play around, who would womanize a lot". I had an obsession with sex. When I was a child, my father had lovers and I experienced seeing him.

Yayoi kusama

The first time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground. Here and there along a path between fields of zinnias, periwinkles, and nastur tiums I caught glimpses of the yellow flowers and baby fruit of pumpkin vines.

I stopped to lean in for a closer look, and there it was: I parted a row of zinnias and reached in to pluck Yayoi kusama pumpkin from its vine. It immediately began speaking to me in a most animated manner. It was still moist with dew, indescribably appealing, and tender to the touch. It seems that pumpkins do not inspire much respect.

But I was enchanted by their charming and winsome form. That and its solid spiritual balance. I was still in my teens — seventeen or eighteen, I believe — when my home prefecture held an exhibition for local ar tists.

I submitted a picture of pumpkins of various sizes, painted with Nihonga materials — mineral pigments painted on paper or silk — and it was well received and won a prize. I lived for about two years in Kyoto, in the mountainside home of a haiku poet and his wife and two children.

My room was on the upper floor, and that is where I painted relentlessly realistic pictures of pumpkins. Before dawn I would spread a sheet of vellum paper on top of the red carpet, line up my brushes, and then sit in Zen meditation.

When the sun came up over Mount Higashiyama, I would confront the spirit of the pumpkin, forgetting everything else and concentrating my mind entirely upon the form before me.

Yayoi kusama

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. One especially distinctive Kusama-ism is her spectacularly idiosyncratic, compulsively recurring, all-over pumpkin pattern: Gallerywide pumpkin-inspired installations play host to explosions of polka-dot patterns and are often occupied by superhuman, spotted sculptural forms which consume space and overpower the visitor.

And sometimes massive kabocha sculptures are permanently sited out of doors, suggesting a sort of impenetrable pumpkin-shaped fairy-tale house. In pursuing her chosen motif across multiple colours, scales and media, Kusama has spent almost four decades following to its extreme logic the obsessive pumpkin-based pattern that she first explored as a child, in her earliest meticulously drawn flora drawings.

As a child, the artist experienced frightening hallucinations wherein the fields all around her home — in many of which kabocha grew — seemed to morph terrifyingly into an all-engulfing, speckled pattern stretching seamlessly from heaven to ear th, threatening to swallow her up within it.

Across her work, Kusama seems endlessly engaged in recreating — perhaps gaining control of — this overwhelming experience, and sharing with viewers the sensation of our bodies fully integrated within our surroundings. We might observe this all-enveloping vision in her vast, meticulously painted Infinity Net paintings starting in the s; her mesmerizing Infinity Mirror Rooms which immerse viewers in a limitless landscape of flickering lights; or her group performances in lates New York City, where performers and their setting were showered in a flurry of paper or painted Kusama dots.

It was only after her return in the s to Japan, where she eventually committed herself voluntarily to a Tokyo psychiatric hospital where she continues to livethat Kusama began to revisit her all-important pumpkins, experimenting with a form so familiar to her since birth.

Some appear almost child-like and clowning, such as the giant, bright yellow wall-relief pumpkin suggestive of s Pop ar t. Indeed in one performance the artist created and wore a kind of pumpkinshell headdress — almost like a helmet or stiff Lego-style wig — and literally inhabited or embodied the kabocha.

During the s Kusama first set off exploring variations on her characteristic pumpkin-pattern in two-dimensional paintings, drawings and prints. In she was invited as the first solo ar tist and first woman ever to grace the Japanese pavilion at the Venice Biennale, and it was with pumpkins in mind that she set about creating a new work for the occasion.

Mirror Room Pumpkin was an all-over black-on-yellow polka-dot extravaganza, consuming floor-to-ceiling the interior of the pavilion: At its centre was a mirrored room, echoing her Infinity Mirror Room:The Obliteration Room, to kaja-net.com Kusama (Japanese, b.

). Furniture, white paint, and dot stickers; dimensions variable. Collaboration between Yayoi Kusama and Queensland Art Gallery. Yayoi Kusama is a true singular figure in modern art, highly original and tremendously popular.

The presentation of the Kusama's life's work at Louisiana was the first Scandinavian retrospective of her art. For the museum the exhibition also turned out to be a significant Louisiana event, as guests visited Kusama's fascinating infinity universe.

The 'Infinity Mirrors' art exhibit Instagram is obsessed with is only 4 hours away. The popular Yayoi Kusama 'Infinity Mirrors' exhibit is at the Cleveland Museum of Art through Sept. 1, Followers, 24 Following, 6 Posts - See Instagram photos and videos from yayoi kusama (@kaja-net.com).

Yayoi Kusama Official Site 前衛芸術家、草間彌生の公式ホームページ バイオグラフィー、展覧会情報、グッズ紹介等の情報を掲載しています.

Yayoi kusama

Yayoi Kusama Official Site 前衛芸術家、草間彌生の公式ホームページ バイオグラフィー、展覧会情報、グッズ紹介等の情報を掲載しています.

Yayoi Kusama: A Museum of One's Own | Sotheby's