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拍品专文
In Yayoi Kusama's Infinity Nets S.S.Z., an endless supply of red, vibrating molecules erupt into the dark macrocosm of the canvas. Constantly weaving in and out, this painting offers the illusion of movement, efficaciously challenging the eye and resulting in a near hypnotic effect. Because space and depth are indistinguishable, the viewer is left in a transfixed gaze. As an artist whose works are characterized as psychological, Kusama describes the inspiration behind her Infinity Net series, "The red flower pattern of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my bodyI felt as if I had begun to self-obliterate, to resolve in the infinity of endless time and the absoluteness of space and be reduced to nothingness" (Y. Kusama, quoted by Mark Ormond, Yayoi Kusama, Miami Beach, 2002, p. 12).
At first glance, pattern is the first thing that comes to mind. However, pattern implies repetition and in the case of Infinity Nets S.S.Z., no two markings are the same, making it impossible to dismiss this piece as such. The artist made a conscious effort to concentrate on painting one particle at a time to ensure that each is distinct from all the others. Kusama's tremendous deal of focus is intrinsic as she has been diagnosed with obsessional neurosis, a mental condition which causes her to desire to focus on details. The psychological issues that the artist deals with are inextricably linked with her work and the basis of nets originates from her need to veil herself from interpersonal contact.
Yayoi Kusama became a pivotal figure in the period that was bookended by Abstract Expressionism and Pop Art. Although she spent just over a decade in New York before returning to her native Japan, her work (and her Infinity Net paintings in particular) encompassed many of the movements that were emerging in the rapidly changing New York art world. Her art rises above arbitrary categorization and provides a new perspective that transcended the cacophony of art world voices which epitomized the polyphony of voices during this period of New York art. As Donald Judd observed, "[her work] transcends the question of whether [the art] is Oriental or American. Although it is something of both, certainly of such Americans as Rothko, Still and Newman, it is not at all a synthesis and is thoroughly independent" (D. Judd as quoted by L. Zelevansky, 'Driving Image: Yayoi Kusama in New York,' Love Forever: Yayoi Kusama, 1958-1968, Los Angeles, 1998, p. 12).
At first glance, pattern is the first thing that comes to mind. However, pattern implies repetition and in the case of Infinity Nets S.S.Z., no two markings are the same, making it impossible to dismiss this piece as such. The artist made a conscious effort to concentrate on painting one particle at a time to ensure that each is distinct from all the others. Kusama's tremendous deal of focus is intrinsic as she has been diagnosed with obsessional neurosis, a mental condition which causes her to desire to focus on details. The psychological issues that the artist deals with are inextricably linked with her work and the basis of nets originates from her need to veil herself from interpersonal contact.
Yayoi Kusama became a pivotal figure in the period that was bookended by Abstract Expressionism and Pop Art. Although she spent just over a decade in New York before returning to her native Japan, her work (and her Infinity Net paintings in particular) encompassed many of the movements that were emerging in the rapidly changing New York art world. Her art rises above arbitrary categorization and provides a new perspective that transcended the cacophony of art world voices which epitomized the polyphony of voices during this period of New York art. As Donald Judd observed, "[her work] transcends the question of whether [the art] is Oriental or American. Although it is something of both, certainly of such Americans as Rothko, Still and Newman, it is not at all a synthesis and is thoroughly independent" (D. Judd as quoted by L. Zelevansky, 'Driving Image: Yayoi Kusama in New York,' Love Forever: Yayoi Kusama, 1958-1968, Los Angeles, 1998, p. 12).