Tag Archives: mirrors

The Disorientating Diversity of Kusama and Some More Shrigley

12 Feb

Last Tuesday morning during our cold spell (which doesn’t seem to be abating) I battled it through the snow to Tate Modern where I was greeted by a number of over-sized polka-dot inflatables.  Yayoi Kusama has arrived in the UK.

The 4th floor at Tate Modern. Own photograph.

Now aged 82, Kusama, whose work spans six decades, is one of Japan’s best-known living artists.  Outside art circles, her work is not widely known but Tate is rightly propelling her into everyone’s consciousness.  This grand old lady of the visual arts travelled to the UK for the first time in 12 years to see her Tate show; she arrived at the exhibition, glowing in a polka-dot dress and red wig (matching the balls outside), laughing with a bright red lipstick smile.

Yayoi Kusama visiting her exhibition. Own photograph.

Even today, she is still innovative and ground-breaking and this broadly chronological unfolds with each sequence of rooms studying the emergence of a new artistic stance, showing off Kusama’s extensive and diverse body of work.  It allows us to learn about the artist; Kusama’s creative career can be divided into sections – beginning and ending in Japan, it includes a substantial period in New York where she was one of the forerunners on the alternative scene.  There is a natural dialogue between East and West in all of her work – sometimes subtle, sometimes more obvious.

The first two rooms show her rarely-seen early work as she moves away from her Japanese origins into a heavily-influenced Western style.  Her works on paper from the 1950s use abstracted forms that suggest natural phenomena with carefully worked, highly-detailed surfaces encompassing her own unique vocabulary.

Yayoi Kusama, early works on paper. Own photograph.

Kusama’s Infinity Paintings are breathtaking.  Seemingly endless scalloped brushstrokes of a single colour on a contrasting background have a calming effect on us yet are emotionally loaded with themes of obsession and compulsion.  They have a hypnotic quality with the same use of textured surface seen in her Accumulations.  This leads us into the middle part of the exhibition where Kusama’s obsession with sex comes to the surface.

Yayoi Kusama, detail of No. White A.Z., 1958-9. Own photograph.

While in New York, she appointed herself ‘High Priestess’ of the emerging hippie scene beginning a series of provocative performance pieces.  Chameleon like, she has always adapted to her surroundings.  Her Sex Obsession series includes phallus-covered chairs, tables and other day-to-day objects, mocking the macho nature of the US art scene.  This is complemented by her food obsession works that use macaroni to show her revulsion at the overabundance of food in the US.

Yayoi Kusama’s Sex Obsession works. Own photograph.

Her decision to return full-time to Japan from the US took a number of years as she see-sawed between the two countries; this was a difficult period of time in which her early hallucinations returned with a vengeance.  She admitted herself to a psychiatric hospital where, since 1977, she has voluntarily lived on an open ward.  This confined living gave her a sense of safety and ease and, once again, her approach to her art changed; she began creating small objects that were part of large, multi-faceted installations such as The Clouds (1984) which consists of one hundred sewn and stuffed cushions.  Although these are white for purity, they create a constellation and installation that is far from pure.  The phallic and sperm-like forms of her early years began to return.  Once again, her work is in dialogue with itself as Kusama uses her illness to make her art, channelling her warped energies to create her pieces.

Yayoi Kusama at Tate Modern with The Clouds, 1984. Own photograph.

Much of her art has a near-hallucinatory effect, triggered by her early use of polka dots that show her unique vision and outlook on the world.  This disorientation is closely intertwined with all Kusama’s work where nothing is straightforward and nothing is at it seems.  The polka dot, a seemingly pretty and decorative motif, actually relates to the troubling hallucinations of her childhood.  Her immersive installations illustrate this with particular intensity as dark, mirrored walls discombobulate, throwing the viewer off balance, causing confusion and disorientation.

Yayoi Kusama, I’m Here, but Nothing, 2000. Own photograph.

Kusama has always been ahead of her time.  Her art varies so much across her career that often you wouldn’t know it was by the same artist.  She was there before everyone else with performance art, wallpaper and installations.  The sheer diversity of her art is overwhelming; it’s easy to lose track of who Kusama is and her lack of a signature style is evident in the catalogue (which is, by the way, excellent).  She has never stayed in one place, in one genre, for long enough to make a mark on the public awareness.  Maybe now it’s time that she does.

Yayoi Kusama, detail of Flame, 1992. Own photograph.

One of the final works is stunning – Infinity Mirrored Room – filled with the Brilliance of Life which has been made specifically for this exhibition.  Lights flicker on and off, illuminating and hiding the room in a repetitive cycle.  The walls are clad with mirrored panels and a pool of water covers the floor.  Hundreds of lights, with endlessly changing colour sequences, are suspended from the ceiling.  It is not as disorientating as we expect and we quickly adapt to the coloured environment.  Maybe that is the point.  I think Kusama intends us to share her path as she has always adapted to her way of living and her confusion is now part of her life.  This work is pretty.  No doubt people will queue to walk through the glittering, mirrored maze.  It seems fun but there’s a deeper message; as we enter these installations we lose ourselves, joining Kusama on her journey of self-obliteration.

Yayoi Kusama, Infinity Mirrored Room – filled with the Brilliance of Life, 2011. Own photograph.

Kusama is a brand as the new merchandise in the shop shows.  But what a brand!  If any artist could achieve half of what this incredible woman has I imagine they’d be ‘well chuffed’.

I’m spending a lot of my time in Waterloo at the moment, working on Heritage Arts’ VAULT – an incredible festival in a new section of the Old Vic Tunnels.  This means that rather than being in Mayfair all day, I can often be found at Scooterworks on Lower Marsh – my new temporary ‘office’ where the lovely Stanley keeps me company.

Stanley the cat at Scooterworks. Own photograph.

I can’t, however, keep away from Mayfair for too long, and that evening I popped to the opening of yet another David Shrigley exhibition at Stephen Friedman – Arms Fayre.  A bucket of beers was waiting for guests outside the gallery.  They needn’t have bothered with the ice though.  Even in gloves, my fingers could have chilled a bottle quite adequately.

David Shrigley, new works on paper at Stephen Friedman.  Own photograph.

Bringing together three strands of Shrigley’s work, the exhibition is essentially an extension of the current show at the Hayward.  Bombs captures the archetypal image of a missile commonly found in cartoons.  This element of destruction and hurt is transformed in ceramic by Shrigley into something simple, fragile and alluring.

David Shrigley, Bombs, 2011. Own photograph.

The sculpture here had a stronger impact than the drawings.  All in all, it’s a small but good exhibition and one that they had to put on to complement the exhibition across the river.  It works well and helps to further illustrate the endlessness of Shrigley’s work.

Yayoi Kusama is at Tate Modern until 5th June 2012, www.tate.org.ukDavid Shrigley: Arms Fayre is at the Stephen Friedman Gallery until 10th March 2012, www.stephenfriedman.com.

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My Love Affair with Sir John Soane

29 Jul

After my dramas with the sat-nav earlier this week, I thought I’d better stick to my home patch.  Seeing Soane’s glorious architecture in Dulwich, it felt fitting to visit another of his buildings.

When I was 16, on first walking into 13 Lincoln’s Inn Fields, I fell in love.  And, notwithstanding many visits since, I still feel the same way.  Sir John Soane’s Museum is one of London’s gems.

Sir John Soane’s Museum. Image via www.flickr.com/photos/bearpitring.

Sir John Soane, son of a bricklayer, began his architectural career aged only 15 and quickly began to make a name for himself.  Enrolling at the Royal Academy in 1771, and winning a gold medal for his drawing in 1776, it was evident that this boy was destined for extraordinary things.  After a foray around Europe, Soane returned to London and set up his own architecture practice in 1781.  He undertook many prestigious appointments during his career, as well as being named Professor of Architecture at the Royal Academy, and was appointed architect to the Bank of England in which post he remained until his retirement at the age of 80.

Detail in the Museum.  Image via www.flickr.com/photos/lewisbush.

Over a period of years, Soane purchased Numbers 12-14 Lincoln’s Inn Fields.  He demolished and rebuilt the three houses in succession as his home and a setting for his antiquities and art works.  An Act of Parliament, negotiated by Soane himself, appointed a board of Trustees to uphold Soane’s aims and objectives, maintaining the house as a museum as closely as possible to the way Soane had left it.  Recently, the Museum has been working to open more and more areas for public access. Opening up the Soane is a very ambitious restoration project, restoring eight lost Soane interiors including the reinstatement of Soane’s model room (that had previously been used as the museum director’s office).

Building work at Sir John Soane’s Museum. Own photograph. 

The house is filled with Soane’s collections which are so remarkable and diverse that there is something here for everyone – Greek, Roman and Egyptian antiquities, bronzes, gems, medals, jewellery, furniture, clocks, silvers, ceramics, tiles, curiosities, mummified cats, models, paintings, watercolours, drawings (in particular, the most amazing collection of Robert Adam drawings)…  The list is endless.  It is impossible on paper to do the collection justice.  The Soane is a veritable treasure trove of art history and you are guaranteed to notice
something new on each visit.  Even now, when I know every nook and cranny (and my stilettos know every crooked floorboard and creaking stair), the house still amazes and delights me. The building epitomises Soane’s ‘poetry of architecture’ with coloured light, cast by concealed skylights, filling the property.

Skylights in the Museum. Image via www.flickr.com/photos/lewisbush.

The specially designed picture gallery houses Hogarth’s An Election and A Rake’s Progress giving me an opportunity to indulge my love of Hogarth on every visit.  Ingeniously designed moving walls conceal hidden paintings. Nearby, in one of the most densely hung sections of the house, Seti I’s sarcophagus sits in the centre of the Crypt under the Dome.

William Hogarth, The Orgy from A Rake’s Progress, 1733. Image via www.soane.org

Soane’s use of mirrors is one of the special features of the house providing wonderful reflections and enlarging and energising the space. As well as a wonderful collection, the Soane boasts some of the friendliest, most knowledgeable warders in London. They know everything about Soane and inspire you to know more.

Mirrors in the Museum. Image via www.flickr.com/photos/lewisbush.

The old exhibition room at the Soane is unrecognisable now due to building work although, when finished, Soane will boast a new and enlarged gallery space.  The gallery is currently in temporary lodgings on the ground floor (the room where I used to go to process PDQ payments during my time at the Soane).  On show at the moment, Wonders of the Ancient World is a unique collection of twenty plaster reproductions of great buildings and monuments of the past including Rome’s Pantheon and Athen’s Parthenon. The intricacy and accuracy of the models is sensational. They were made by Francois Fouquet who, from 1790-1830, meticulously produced these for architects and collectors in Paris.

The majority of the models remain in pristine condition and this is the first time they have been shown in this way.  (You may spot a couple of damaged works in the exhibition such as the Arch of Hadrian, Athens.  It’s thought these models were damaged in 1940 when a landmine was dropped on Lincoln’s Inn Fields, shattering cases and models.)  Fouquet learned model-making from his father but his works are distinguished by their smaller dimensions and finer details – detail which is incredible.  Father and son left no clues as to how these models were made and their technique is still a mystery.  They must have worked the plaster when wet and then hand-finished their models when dry.  It is probable they also used some stock elements conceived through moulds.

Francois Fouquet model of the Temple of Fortuna Virilis, Rome. Image via www.soane.org.

Soane purchased these 20 models in 1833 and paid the large sum of £100 for the works. In today’s currency that is £10,136.78!  I’d say Soane got good value for his money.

The Soane Fouquet models are a very rare survival and when restoration finishes in 2014, these will be back on permanent display.

The amazing domed area. Image via www.archimage.co.uk.

Although this is a lovely exhibition, I’d implore you to visit the Soane anytime, regardless of what they have on show.  There is no entrance charge so even if you only have ten minutes to spare, pop in to explore a new part of the house and get lost in Soane’s world.

Image via www.flickr.com

Wonders of the Ancient World: Francois Fouquet’s Model Masterpieces is at Sir John Soane’s Museum until 24th September 2011, www.soane.org.

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