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Yayoi Kusama
《心之住處》
完整圖錄內容
60年代初期,草間開始創作她的空間集合藝術「積聚」系列,她縫製大量陽具形體的軟雕塑,讓它們像繁殖一般佈滿沙發、櫃子、衣服與高跟鞋上。1963年,草間發表《聚集:一千艘船的展演》,引來如安迪•沃荷等藝術界人士的讚賞。草間彌生在1960年代的作品場域從平面繪畫擴張到雕塑、裝置、乃至於以「愛與和平」為主題的行動藝術。而在作品背後展開的思想,便是草間從對抗自身恐懼,發展至對於封建的思想及男性權威的挑戰。
草間於1973 回到日本定居,在日本的期間,其工作室地面佈滿了有機形體的軟雕塑。在這個時期開始,草間的軟雕塑的作品不再僅僅是對生活恐懼或是對抗男性的展現,她開始運用這些柔軟的素材,對社會中女性所扮演的角色作出詰問。
在草間超過60年的創作生涯中,直至今日,她的作品絲毫沒有自前衛潮流中退出,反而更發的日久彌新。她晚年的作品已經開始逐漸走出反叛的、具有批評、攻擊性的特色,轉向一種和諧單純的階段,變的更隨興,用強烈的色彩和細緻的形式去讚頌大自然、生命和愛。如她自己曾經在訪談中提到:「我希望自己的藝術可以為世人帶來幸福。」
《心之住處》這件作品,草間以極鮮艷的色彩,點綴其著名的圓點手繪,恣意張放的造型像是綻放生命力的奇花異卉。展現了草間彌生的創造力,相映著她腦中的奇幻夢境。
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.