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Yayoi Kusama

《南瓜》

款識:《南瓜》(日文) yayoi kusama 1990 (畫背)
壓克力 畫布
22.7 x 15.8 公分 (8 7/8 x 6 1/4 英寸)
1990年作, 並附草間彌生工作室之登記卡。
草間彌生於1993年的威尼斯雙年展中呈現《鏡屋(南瓜)》,在鏡子房間裡,放滿小型南瓜雕塑,向四面延伸,就像一片蔓生的南瓜田。在此之後,她的南瓜作品立即在國際受到矚目。本次呈獻的早期畫作為其參加雙年展三年以前的作品,可見其標誌性的南瓜造型,鮮黃底色上佈滿黝黑圓點。然而此作中的南瓜懸浮在白色背景中,是藝術家極少見的做法,觀者的所有專注力都放在所繪的南瓜之上,幾乎進入了一種催眠的狀態,恍如其後期作品《鏡屋(南瓜)》中的道具。

草間彌生的藝術創作紮根於她幼時的某些深刻記憶,南瓜圖案是其中一個核心的代表性元素,在其作品中不斷出現。她回憶起南瓜時滿載緬懷:「我第一次見到南瓜是在小學的時候,跟爺爺一起參觀了一個大型採種場… 就在那裡:像人頭那麼大的南瓜… 它馬上活生生地跟我講話」(錄於《無限的網:草間彌生》(Ralph McCarthy 譯),倫敦,2011年,第75頁)。早在1940年代,南瓜就開始出現在她的創作中了,當時她在京都市立工藝美術學校學習傳統日本畫,就已有淡雅線條勾勒出的南瓜作品。爾後,其1980至1990年代的創作開始正式出現以南瓜為主題的作品,草間彌生對它的鍾愛至今沒有絲毫減退。

從南瓜進入草間彌生的生命,到它踏入國際藝術殿堂,它將是一個永不褪色的標誌,如同草間彌生本人的延伸和隱喻。

Yayoi Kusama

Japanese

Named "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.



 

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