草间弥生丨我永恒的灵魂

Yayoi Kusama

Victoria Miro gallery

//

2009年，草间弥生(Yayoi Kusama)开始了一系列绘画作品，这些作品在她十多年的创作生涯中成为不可或缺的、持续不断的一部分。这组名为《我永恒的灵魂》的丙烯绘画作品构成了她最近在维多利亚·米罗画廊举办画展的基础，展览名为《 I Want Your Tears to Flow with the Words I Wrote》

This representative slice of Kusama’s obsessions, motifs and materials begins with new works from the My Eternal Soul project, each painting primitive and transcendent, alive with colours in swirling cosmic arrangements. Bustling with wormholes, faces and cellular topographies, this series cycles through evolution and loops infinitely back with the confident stroke of Kusama’s brush. The canvases are displayed together in panels to construct a world of simultaneity, where times and colours exist at once and together. The soft sculptures accompanying these paintings appear as escapees from this 2D universe, puncturing the gallery space with their horned shapes and tribal markings.

展览二层的软雕塑《I Who Was awstruck at The Shape of The Secret I Found in The Cosmos, 2021》继续草间弥生对微观和宏观的研究。壁挂雕塑展示了胎儿形状，一个肉质的挤压的框架以棉花填充。草间弥生模仿了人体内脏，这些特性在我们看来是不可思议的，被重新定义为一个无限大的构造。

The soft sculpture on the upper floor of the exhibition, I Who Was Awestruck at the Shape of the Secret I Found in the Cosmos, 2021, continues Kusama’s occupation with micro and macrocosmic relationships. This wall-mounted sculpture presents foetal shapes of stuffed cotton, straining against the frame in a fleshy jostle for life. Kusama’s use of organic shapes and visceral pinks mimic qualities of the human body, which are presented back to us swollen and uncanny, reframed as insight into an infinitely larger structure. 

随着展览的规模从宇宙视角转向草间弥生著名的南瓜，它继续探索艺术家对跨维度波点的痴迷。青铜雕塑(所有南瓜，2021年)上布满了点，它们的形状扭曲，仿佛在寻找光，这种迷幻的模式在infinite - dots (LKKJU)中得到了充分的探索，2021年，不规则的波点交替填满画布，创造出一种洞穴般的深度感，最后以一个越来越小的圆圈渐渐消失。

As the show shifts in scale from cosmic insight to Kusama’s celebrated pumpkins, it continues to explore the artist’s obsession with polka dots across dimensions. Where her patinated bronze sculptures (all Pumpkin, 2021) are pocked with dots, their form twisted as though seeking out light, the psychedelic potential of this pattern is fully explored in INFINITY-DOTS (LKKJU), 2021. Here, irregular slithers of polka dots in alternating gradients of size fill the canvas, creating a cavernous sense of depth that disappears into a vanishing point of increasingly tiny circles.

草间弥生的作品《(Phantom polka dots of Fate, doomed by Heaven, Were the Greatest Gift for Me, 2021》中重复出现。并激发了她的大部分艺术实践。装置放置在细长的金属腿之上，盒子中有发光的圆点触须。在有限的空间内伸展和扭曲形成无限，这些形式和它们密不可分的模式呼应了展览无限的主题。草间弥生解释说:“当我们用圆点抹去自然和我们的身体时，我们就成为了环境的一部分。”

Kusama’s signature polka dots repeat, too, across her installation Phantom Polka Dots of Fate, Ordained by Heaven, Were the Greatest Gift Ever for Me, 2021. In this piece, Kusama praises the hallucinatory dots that filled her field of vision as a child, and inspired much of her artistic practice. This installation is formed by a chamber raised on spindly metal legs, containing glowing polka-dot tentacles that are duplicated by mirrored panels. Stretching and twisting into infinity within a finite space, these forms and their inseparable patterns echo the exhibition’s themes of repetition and boundlessness. “When we obliterate nature and our bodies with polka dots, we become part of the unity of our environments”, Kusama explains. 

草间弥生被称为日本现存的经典艺术家；她的创作被评论家归类到很多艺术派别，包含女权主义、极简主义、超现实主义、原生艺术、普普艺术和抽象表现主义等；但草间弥生对自己的描述是仅是一位“精神病艺术家”obsessive artist。从她的作品中可以看到，她企图呈现的是一种自传式的、深入心理的、性取向的内容，她所用的创作手法有绘画、软雕塑、行动艺术与装置艺术等。