11/7/2022 0 Comments Kusama obliteration roomAll of us live in the unfathomable mystery and infinitude of the universe. In the universe, there is the sun, the moon, the earth, and hundreds of millions of stars. We can see through her own words, a sense of what these paintings accomplished for the artist: "With just one polka dot, nothing can be achieved. They also showcase the way she used art to process her mental illness. Kusama obliteration room series#Kusama's Infinity Net series marks the beginning of a radical shift in her work from the singular abstract, biomorphic forms she painted during her youth to the more obsessive, repetitive works that would define her career. Tempera and acrylic on paper - The Blanton Museum (Texas) Her use of dots became the manifestation of this effort and has become the defining motif in her work. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness." These themes of self-obliteration and representation of the infinite would become an obsession for Kusama as she attempted to represent what she believed to be her alternate reality. Kusama obliteration room windows#As Kusama explains, "one day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body, and the universe. From a very young age, Kusama experienced hallucinations in which a single pattern would engulf everything in her field of vision. The overall effect of the work is aggressive and bizarre, showing signs of Kusama's struggles with mental illness and anxiety towards sex. The form is reminiscent of female genitalia with red spikes surrounding it. The watercolor depicts a singular biomorphic form with subtle dots in the center floating in a seemingly black abyss. The Woman is one of these earlier abstract works. Kusama obliteration room free#These works on paper showed the artist breaking free from the traditional Japanese artistic practices she was taught as a child and embracing Western artistic influences, especially in regards to abstraction. When Kusama moved to the United States, the first works she exhibited were her watercolors. It was her sole tool for making sense of a world in which she dwelt on the periphery of normative experience, and as a result became the very thing that allowed her to assimilate successfully into society.
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