[ Yayoi Kusama ] Art Review
Keep an eye out for Yayoi Kusama’s fashion collaboration Louis Vuitton this July 2012.
Yayoi Kusama I’m Here, but Nothing, 2000/2012 © Yayoi Kusama
Photo credit: Lucy Dawkins/Tate Photography
sculptures, are part of what Kusama herself referred to as the Sex Obsession Series; a sequence of works which reflect the burgeoning experimental culture of the Sixties. Aggregation: One Thousand Boats was Kusama’s first room-sized installation, depicting a rowing boat and oars covered with grotesque phallic forms. Despite being in a gallery the viewer is left with the unique impression of being completely overcome by the installation. The loneliness and monstrous nature of these sculptures perhaps
reflect Kusama’s frail mental health, which led her to voluntarily check herself into the psychiatric institution in Tokyo 1977, which remains her home today.
The meditative approach to art which drove Kusama towards the repetitive style for which she is recognised, is well represented. I’m Here, but Nothing, a domestic environment covered in Kusama’s signature florescent dots, immerses the viewer completely. However, for a complete visual journey Kusama’s final exhibit,
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Yayoi Kusama Aggregation: One Thousand Boats Show, 1963 © Yayoi Kusama
Photo credit: Lucy Dawkins/Tate Photography
Infinity Mirrored Room, created especially for the show, explores the concept of scale in a way which her paintings were limited. Staring at endless repeated images of yourself and the tiny lights which surround you, you are left to contemplate your position in the infinite. A dizzying concept for a weekend jaunt, but only if you take it too seriously.
Yayoi Kusama Tate Modern
London 9 Feb – 5 June 2012 Book Tickets online £10
by Josie Gurney-Read
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