Yayoi Kusama’s
Infinity, 1995

Infinity is singular in its artistic style. Kusama employed two of the most crucial symbols from her repertoire in this work—polka dots and infinity nets.

For over half a century since the 1950s, Kusama had been choosing only either one of the two symbols as the subject in her pure abstract works.

Towering at nearly two meters, Infinity was completed using only the two hues of red and black. Its specific size and palette are typical of works from the Infinity Nets series that were completed in New York in the 1960s—the importance of this particular palette is only second to her black and white works.

Viewing from a distance, this large-scale vertical work is clearly divided into two halves—the left and right pieces in different shades of dark red distinctly meet at the barrier. Upon closer inspection, viewers can identify the polka dots on the right half and the infinity nets on the left. The line at which the two halves meet is full of twists and turns. This fills the otherwise serene picture with a strong sense of rhythm and a unique temperament.

One-of-a-kind composition in two vertical halves

Compositionally speaking, works with this left-right division are exceptionally rare in Kusama’s oeuvre. Similar works have yet to be seen in the auction market. As a result, it is extremely hard to find works in the same category to serve as reference points for comparison. Thus, the collection value of Infinity cannot be overstated.

Kusama arrived in the United States in 1957 as a Japanese artist in search of freedom and autonomy in artistic expression. This arduous journey from East to West is visually echoed in the left-right division in Infinity. Metaphorically, it hints at the artist’s personal history as well as the significant connections between these two cultures.

In addition, deeper associations can be made when we consider the issue of human migration on a personal level: the differences between Eastern and Western cultures can inspire both antagonism and integration. This divergence in cultural and artistic practices is deeply rooted in two distinct ideologies. Zen Buddhism reveres the meditative states of kuu (void) and mu (nothingness); accepting nature in its most primitive condition promotes the development of kūjaku (empty quietude) and wabi-sabi (imperfect rusticity) in Japanese aesthetics. This is in direct opposition to Western aesthetics and classical Greek traditions in which conquering nature in the pursuit for perfection is privileged.

An Autobiography Written in Symbols and Colours

The symbols of polka dots and infinity nets are both inextricably tied to Kusama’s upbringing and life. Despite being born into an affluent family in Japan in 1929, Kusama began experiencing hallucination since the age of ten as a result of the oppression she received from her mother. The artist recalls:

As an adult, Kusama continued to suffer from hallucinations, so much so that she contemplated suicide. Yet, by persistently painting polka dots and infinity nets, she found peace and the strength to live.

Infinity (Lot 12P) thoroughly illustrates Kusama’s mental states, personal experiences, as well as her complete worldview.

Not only is it an invaluable self-portrait of Kusama's lived experience, but it is also an autobiography written in symbols and colours instead of words.

Infinity as the Culmination of a Lifelong Pursuit for an Idiosyncratic Artistic Style

Kusama insists that she wishes to bring infinite love to the world through her works.

“Love is forever, this is what I want to say to the whole world.”

– Yayoi Kusama

The binary composition of Infinity can be interpreted as a conflict, but it can also be read as an intimate relationship between two constituents. The way in which the two halves of dots and nets interlock with each other is reminiscent of a deep emotional bond between two people.

At the age of 60 in 1989, Kusama staged a large-scale retrospective at the Center for International Contemporary Arts in New York. This landmark exhibition cemented her importance in the contemporary art world. In the same year, she became the first Japanese artist to be featured on the cover of Art in America. In 1993, she participated in the 45th Venice Biennale representing her country at the Japan Pavilion: the critically acclaimed installation Mirror Room (Pumpkin) garnered overwhelming international attention.

As she was approaching the pinnacle period of her artistic career, Kusama painted Infinity, the monumental self-portrait of her life, two years after.

This work epitomises how Kusama positions her life at the core of her art, and it draws a satisfying conclusion to the first half of her artistic career.