Yayoi Kusama_Victoria Miro, London

01 October, 2013
1 Oct – 9 Nov 2013 – Victoria Miro Mayfair
14 St George Street London W1S 1FE
It is the first time Kusama has exclusively shown white Infinity Nets in Europe and in its select concentration on these iconic works the exhibition recalls Kusama’s debut solo show in New York at the Brata Gallery in October 1959.
From a distance these delicate paintings read as monochromes, but up close their intricate surfaces become visible: small arched semi-circles of white paint almost completely covering the ground of the canvases. On each painting the underlay, a wash of black or grey, is obscured by an intricate network of gestural scallops of paint that combine to form a net. The paintings are characterised by an all-over surface that suggests detailed lattice- or lacework. The nets appear to extend beyond the picture planes, suggesting the potential to expand indefinitely.
Kusama’s White Infinity Net paintings are recognized as some of the most compelling works of her extraordinary oeuvre. The artist has always worked serially, but her periodic return to the white Infinity Nets is something else: it is as if from time to time she is compelled to re-immerse herself in this body of work, representing as it does the purest expression of her artistic manifesto. This exhibition both in its scale and focussed presentation will completely surround the viewer with white Infinity Nets in an echo of some of her earliest solo shows in America from the 50s and 60s.
One of the most revered artists of her generation, Kusama is known for a rich and diverse artistic oeuvre, which includes painting, sculpture, printmaking, installation, film and performance. Although her practice resists singular characterisation the Infinity Nets have strong associations with several major post-war artistic movements. In the United States, Infinity Net paintings have been contextualised with Minimal and Op painting. Their gestural surfaces also ally them with the work of artists affiliated with Post-Minimalism. In Europe, early Infinity Nets were shown alongside, and discussed in relation to, work by artists in the Zero and Nul movements. Despite their historical resonances, however, the Infinity Nets are not historical artefacts. As this new group of work demonstrates, the paintings remain contemporary and relevant, continuing to engage and enthral viewers in the artist’s ninth decade.
Further informations: victoria-miro.com