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Yayoi Kusama
《無限之網》
完整圖錄內容
無限網系列中的動力造形 來自草間彌生幼年經歷的視覺和聽覺幻象，「無限」成為釋放其身心焦慮的一種途徑。草間彌生認為她的創作過程就是通過無止境的重複和自我封閉來擺脫自己的頭腦，以視覺藝術呈現精神混亂深淵的同時也是一種抵抗策略。「我猜我是被施了咒的」草間彌生說道，「… 我的網已經淹沒了自己，蔓延到畫布以外，它們開始覆蓋墻壁、天花板，直到整個宇宙。我站在迷境的中央，它們在我身體裡不斷生長、複製」（草間彌生，〈與 Gordon Brown 之訪談（1965年）〉，錄於《草間彌生：無限》，2015年，第11頁）
觀乎草間彌生至今所有作品，本次呈獻之《無限之網》可謂把她的藝術觀清晰表現出來，數十年來不知疲倦的堅持和忍耐磨煉都凝聚其中。在其較早期的無限網畫作中，她無休止地重複相同的細微動作，形成上千個細小半圓，交織成網狀，半遮掩住底層的對比。在此幅《無限之網》，她捨去同系列早期作品中繪畫性的細節，把重點放在機械性生產力，以及作品中題材內容的演進。「她費盡心血畫出這些極致的畫作，好像在挑戰超越藝術製作中人類的極限，以此在機械的領域戰勝機器」（Laura Hoptman，《草間彌生》，2012年，第62頁）。《無限之網》在草間彌生標誌性的無限重複藝術手法中再次創新，對媒材掌控游刃有餘，選色明亮矚目，見證日本最具代表性的知名藝術家在1990年代初重返繪畫創作，對其1950年代末開始的《無限網之》畫作綻放出的嶄新力量。
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.