Breathtaking mask from a renowned west coast Kwakwaka’wakw carver. Beau Dick (1955-2017)
Well, we finally made it to Yayoi Kusama’s Infinity Mirrors at the AGO. Kusama is definitely having a moment at the moment. Her work seems to be custom made for our times, although she’s been exploring these ideas for decades. The rest of the world has finally caught up. The process of seeing Infinity Mirrors is almost a separate experience to actually viewing the work in Infinity Mirrors. Let me explain……
Kusama’s work is a playful exploration of materials, sexuality and your position in the universe. We are all solitary dots in an infinite cosmos of dots. As bleak as that outcome sounds, she still infuses the work with a sense of jubilation. The work also acts as a catalyst for the viewer, where are you in relation to the work and do you make yourself the focal point?
The experience of Infinity Mirrors started long before the exhibit opened. The interweb was awash with images and the hype was thunder on the horizon slowly growing louder. Securing tickets was part of the experience. The logistics of the exhibit had to limit availability, so the demand heightened. No one likes to read these words “You are currently 9000th in line.” There was a sense of joy being able to be a part of it. You were given a time and then all you had to do was wait. Kusama provided you with infinite space but had to limit your time and the result; time became the true star. You had 20 to 30 seconds in each room. Not a lot of time to drink in your place in the universe and that is why Infinity Mirrors works so well. The obligatory selfie helps you freeze time to help sustain that fleeting moment. Yayoi Kusama has her finger on the pulse of our lives.