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Yayoi Kusama
Infinity Nets, 1999
Signed 'Yayoi Kusama,' dated '1999,' and titled in Japanese (on the reverse)
Acrylic on canvas
45.7 by 53.3 cm (18 by 21 in.)
69677
© 2023 Yayoi Kusama
Painted in 1999. This work is accompanied by a registration card issued by the artist's studio. The present painting is a striking, small-scale example from Yayoi Kusama’s iconic Infinity Nets...
Painted in 1999. This work is accompanied by a registration card issued by the artist's studio.
The present painting is a striking, small-scale example from Yayoi Kusama’s iconic Infinity Nets series, which features a field of repetitive golden loops set against a white ground. Kusama began creating her meditative “net” paintings soon after she arrived in New York City in 1958. These compositions forgo a distinct focal point and instead consist of intricate, looping brushstrokes meant to visually represent the concept of infinity. With its metallic palette, the painting is reminiscent of a blazing sun, and its elaborate pattern saturates the surface, creating a sense of repetition and motion. When Kusama first traveled to New York, she flew from Japan to the United States for the first time. She cites the view of the ocean waves from the airplane window as the visual origin of the “nets.” The visible impasto brushwork mimics fluid waves, and in spite of its ostensibly flat façade, the painting appears vibrant and alive, ebbing and flowing like the endless ocean tide. Examples from the Infinity Nets series vary in color and size – the smallest examples measure under a foot in height, while the largest exceed nine feet in height. The series is one of Kusama’s largest bodies of work and remains highly desirable among collectors, frequently achieving record-setting prices at auction.
The present painting is a striking, small-scale example from Yayoi Kusama’s iconic Infinity Nets series, which features a field of repetitive golden loops set against a white ground. Kusama began creating her meditative “net” paintings soon after she arrived in New York City in 1958. These compositions forgo a distinct focal point and instead consist of intricate, looping brushstrokes meant to visually represent the concept of infinity. With its metallic palette, the painting is reminiscent of a blazing sun, and its elaborate pattern saturates the surface, creating a sense of repetition and motion. When Kusama first traveled to New York, she flew from Japan to the United States for the first time. She cites the view of the ocean waves from the airplane window as the visual origin of the “nets.” The visible impasto brushwork mimics fluid waves, and in spite of its ostensibly flat façade, the painting appears vibrant and alive, ebbing and flowing like the endless ocean tide. Examples from the Infinity Nets series vary in color and size – the smallest examples measure under a foot in height, while the largest exceed nine feet in height. The series is one of Kusama’s largest bodies of work and remains highly desirable among collectors, frequently achieving record-setting prices at auction.