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拍品专文
"Our earth is only one polka dot among the million stars in the cosmos. Polka dots are a way to infinity. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environment, I become part of the eternal, and we obliterate ourselves in love." – Yayoi Kusama
Yayoi Kusama's Bud (Lot 192) encapsulates the core of the artist's lifelong obsession with infinity, sexuality, and the cosmos, while simultaneously providing a hypnotic embodiment of the various shapes, forms, and media she explores in her practice. Immersed in an intricately woven and crowded net of spun silver hair-like material, emerges a large, pink ovoid shape surrounded by the artist's signature phallic, polka-dotted protrusions — all of which sits inside a black frame that is painted with thin silver lines recalling her iconic "infinity net" series.
Both polka dots and nets have characterised Kusama's visual production since the late 1950s and define her aesthetic pursuit as a continuous struggle to reach infinity. The repetitive motion of drawing lines and dots on canvases informs her fascination with the cosmos which she defines as the aggregation and connection of millions of miniscule particles. When canvases do not suffice, she spreads her production to any surface available—shoes, chairs, sofas, her body, and even entire rooms. Bud is one such example of Kusama's ventures beyond the boundaries of her canvases. To further reference this fascination is the clearly present theme of fertility and sexuality, foundational aspects of the cosmos itself. The bud, tsubomi in Japanese, constitutes an essential stage of the blooming process and therefore pinpoints the origin of life and growth. Simultaneously, the phallic shapes of the fabric protrusions, the contours and colour of the bud itself, and the hair-like net in which they are submerged, allude to both female and male genitalia. Bud is therefore not only a mesmerising example Kusama's profoundly intricate artistic production, but is also a testament to the artist's enchantment with the relationship between cosmos, infinity, and sexuality and how art upholds the power to explore these realms.
Yayoi Kusama's Bud (Lot 192) encapsulates the core of the artist's lifelong obsession with infinity, sexuality, and the cosmos, while simultaneously providing a hypnotic embodiment of the various shapes, forms, and media she explores in her practice. Immersed in an intricately woven and crowded net of spun silver hair-like material, emerges a large, pink ovoid shape surrounded by the artist's signature phallic, polka-dotted protrusions — all of which sits inside a black frame that is painted with thin silver lines recalling her iconic "infinity net" series.
Both polka dots and nets have characterised Kusama's visual production since the late 1950s and define her aesthetic pursuit as a continuous struggle to reach infinity. The repetitive motion of drawing lines and dots on canvases informs her fascination with the cosmos which she defines as the aggregation and connection of millions of miniscule particles. When canvases do not suffice, she spreads her production to any surface available—shoes, chairs, sofas, her body, and even entire rooms. Bud is one such example of Kusama's ventures beyond the boundaries of her canvases. To further reference this fascination is the clearly present theme of fertility and sexuality, foundational aspects of the cosmos itself. The bud, tsubomi in Japanese, constitutes an essential stage of the blooming process and therefore pinpoints the origin of life and growth. Simultaneously, the phallic shapes of the fabric protrusions, the contours and colour of the bud itself, and the hair-like net in which they are submerged, allude to both female and male genitalia. Bud is therefore not only a mesmerising example Kusama's profoundly intricate artistic production, but is also a testament to the artist's enchantment with the relationship between cosmos, infinity, and sexuality and how art upholds the power to explore these realms.