Yayoi Kusama interview: ‘Portray helps me to maintain away ideas of dying’

by Editors Staff

Standing on a carpet of dried pasta, six crayon-coloured mannequins stand mid-conversation at a cocktail party – every lined in artist Yayoi Kusama’s infinity nets: her famed seemingly infinite dotted patterns. A desk laden with crockery and surrounded by chairs equally receives the identical vibrant remedy, a scene organized altogether for the primary time in many years at M+ Museum’s ‘Yayoi Kusama: 1945 to Now’ retrospective in Hong Kong.

The meticulous portrait, titled Self Obliteration, speaks to the guts of Kusama’s hallucinogenic imaginative and prescient of the world, expressed by the Japanese artist over a number of many years. The polka-dotted faces of the mannequins disappear as they broaden and contract endlessly beneath their styled wigs, sealed to the form of identically formed feminine our bodies pinned to noticed stands.

Set up view of Self-Obliteration (1966–1974) at ‘Yayoi Kusama: 1945 to Now’, 2022 

(Picture credit score: Lok Cheng)

The great exhibition is M+’s first-ever particular exhibition in Hong Kong and one of many first main retrospectives on the artist in almost a decade. From her early sketchbooks to items created by Kusama over the pandemic, signature works equivalent to her 1992 work Taking pictures Stars and an array of miniature pumpkins take pleasure of place within the exhibition alongside work, movies and even costumes. In a single room, curators took benefit of a sweeping view of Hong Kong harbour and arrange the artist’s mercurial Cloud sculptures: their metallic sheen reflecting a blue sky and fluorescent museum lights. 

New works have been additionally commissioned for the opening, together with two melting variations of her iconic pumpkins: a continued self-obliteration of a motif synonymous with the artist. Each the Instagram-minded and Kusama followers are set to flock to the artist’s model new Infinity Room, a stark black and white area crammed with gigantic polka-dotted balls which make the onlooker really feel like an insignificant speck – main right into a mirrored room the place polka dots seemingly stretch past the scale of time and area.

Installation view of Clouds (2019) at Yayoi Kusama: 1945 to Now, 2022 Photo: Lok Cheng M+, Hong Kong

Set up view of Clouds (2019) at ‘Yayoi Kusama: 1945 to Now’, 2022

(Picture credit score: Lok Cheng M+)

Chong joked on the press preview that a few of her newest works – created this summer season – have been shipped the second the paint dried. Talking to Wallpaper* over e mail, Kusama stated, ‘I don’t really feel the distinction between my earlier creation and now. I by no means run out of concepts so I shall proceed to point out new issues.’

Supply: Wallpaper

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