6
Yayoi Kusama
《蝶》
框 44.4 x 41.4 公分 (17 1/2 x 16 1/4 英寸)
完整圖錄內容
《蝶》創作於1979年,此作品中的斑點與圖案相互混合 ,看似要從紙上溢出圖案進而在此概念上作延伸。在構圖的中心,是一個通過精細的水彩筆觸描繪出的檸檬黃和綠色昆蟲般的生物。作品中的昆蟲被豐滿的藍色線條勾勒,如同蝴蝶翅膀一般,讓人想到毛毛蟲的生命輪迴中經歷的巨大轉變,讓人不禁聯想起作品的標題。蝴蝶在日本文化中具有極高的象徵性的生物,在普遍的認知中,剛剛離世的靈魂會以蝴蝶的形態,飛往永生與和平。草間一生於日本和美國之間奔走,同時處理著個人的起伏及紊亂不定的精神,她的蝴蝶圖像可以被認為是藝術家自我蛻變的有力象徵。
草間於諸多權威機構舉辦個展,並不斷印證其在當代藝術領域的領先地位,並將於柏林葛羅皮亞斯展覽館舉辦個人回顧展(原定於2020年9月,延期至2021年3月),以及於華盛頓赫尚博物館和雕塑園(2020年,改期舉辦)、紐約植物園(2020年,延期至2021年)和泰特現代博物館舉辦展覽(2021年,延期至2022年)。
Yayoi Kusama
JapaneseNamed "the world's most popular artist" in 2015, it's not hard to see why Yayoi Kusama continues to dazzle contemporary art audiences globally. From her signature polka dots—"fabulous," she calls them—to her mirror-and-light Infinity Rooms, Kusama's multi-dimensional practice of making art elevates the experience of immersion. To neatly pin an artistic movement onto Kusama would be for naught: She melds and transcends the aesthetics and theories of many late twentieth century movements, including Pop Art and Minimalism, without ever taking a singular path.
As an nonagenarian who still lives in Tokyo and steadfastly paints in her studio every day, Kusama honed her punchy cosmic style in New York City in the 1960s. During this period, she staged avant-garde happenings, which eventually thrust her onto the international stage with a series of groundbreaking exhibitions at the Museum of Modern Art in the 1980s and the 45th Venice Biennale in 1993. She continues to churn out paintings and installations at inspiring speed, exhibiting internationally in nearly every corner of the globe, and maintains a commanding presence on the primary market and at auction.