![]() Likewise, imagine a horse covered by polka dots against the. The mirrored reflections of these objects adds to the illusion of endless space and surrounds the visitor whose presence and reflections become part of the art as well. What happens then is self-obliteration, in which you completely wipe out your self on your own. ![]() A small door closes behind the visitor who is left inside a completely mirrored box that is filled with everything from pumpkins to polka-dot balls to lanterns. BBC Four - Kusamas Self-Obliteration Show more 25 minutes Last on Thu 03:25 BBC Four Goes Abstract Explore one of art’s most groundbreaking forms with a range of programmes. It was in the 1960s that Kusama created her first Infinity Room (she’s up to 20 rooms to date) which allowed individuals to immerse themselves in a 360-degree environment she creates. (Kusama was known to appear naked as part of her own installations, covered only in dots, and she often used other nude models in performance ‘happenings’ during which she painted them with dots as well.) “All of us live in the unfathomable mystery and infinitude of the universe.” Kusama’s escape, both literal and figurative came in the 1960s when she moved to New York where she found a more accepting art scene and where her avant-garde pieces inspired artists like Andy Warhol and her rebellious anti-war performance art even influenced Yoko Ono. New York’s David Zwirner art gallery was recently host to the ‘Give Me Love’ installation a collection by Japanese artist Yayoi Kusama. ![]() Kusama’s Phalli’s Field is filled with endless phallic sculpturesĬreative expression became Kusama’s way of coping with her illness, despite the fact that her pursuit of art was neither accepted nor encouraged by her mother or her traditional Japanese culture.ĭisobeying both, Kusama studied art in Matsumoto and Kyoto, but once again she found her creativity stifled by the post-war anti-Western sentiment of the 1950s that forced artists to only use traditional Japanese techniques and materials.
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