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Lot 5
Yayoi Kusama(B.1929)Lights in Montreal
Amended
26 – 27 May 2022, 16:00 HKT
Hong Kong, Six Pacific PlaceSold for HK$2,271,000 inc. premium
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Marcello Kwan
Head of Department, M&CA
Yayoi Kusama (B.1929)
Lights in Montreal
1988
signed, titled and dated 1988 on the reverse
acrylic on canvas
45 x 54 cm (17 11/16 x 21 1/4 in)
This work is accompanied with a registration card issued by Yayoi Kusama Inc., Tokyo.
1988
signed, titled and dated 1988 on the reverse
acrylic on canvas
45 x 54 cm (17 11/16 x 21 1/4 in)
This work is accompanied with a registration card issued by Yayoi Kusama Inc., Tokyo.
Footnotes
Provenance
Sale: Borobudur Fine Art Auction, Singapore, Asian Contemporary and Modern Art, 21 November 2010, Lot 203
Acquired from the above by the present owner
草間彌生
蒙特利爾之光
壓克力 畫布
1988年作
簽名：Yayoi Kusama 1988（背面）
此作附東京草間彌生株式會社開立之登錄卡
來源
拍賣：新加坡寳福得拍賣行，「亞洲現當代藝術」，2010年11月21日，拍品編號203
現藏家得自上述來源
Lights in Montreal is an oil on canvas work that Yayoi Kusama completed in 1988.
In 1973, Kusama returned to Japan from New York. Her new life involved shuttling regularly between the psychiatric ward and the studio. Upon her return, she did not continue to prolifically produce oil paintings and installation pieces like she did when she was in New York. Instead, she turned her focus to works on paper, collages, and creative writing. It was not until the mid-1980s did she return to producing canvas works with a renewed vigour. Lights in Montreal is such a work that was created in this new phase.
Kusama stopped using oil paint in the early 1980s and adopted acrylic on canvas as a creative medium. The pictorial treatment of this period was flat; the lines were clean and concise; the colours were vibrant and high-contrast; and the overall atmosphere was charged with a fashionable energy. These works reflect the power of Japanese popular culture at its peak during that prosperous decade.
In Lights in Montreal, Kusama constructed a net that covers the entire painting with green lines. It is a stylistic and spiritual continuation of the Infinity Net series, which she started in the 1950s. The holes of the net all have different shapes, and they are constantly transforming like cells congregating and multiplying. Their rhythmic quality gives this work a powerful sense of vitality. Compared to canonical works from the Infinity Net series, the holes in this work are markedly larger, and they are filled with little magenta dots. These pulsating specks resemble the countless lights sparkling across a bustling city skyline. A prevailing sense of perpetual exuberance radiates from this work.
In 1989, a year after the completion of this work, Kusama began her touring exhibitions in museums across the United States. This series of exhibitions is one of the most important milestones in her career, and it consolidates her position as one of the most influential contemporary artists of the 20th century and beyond.
《蒙特利爾之光》是草間彌生於1988年創作的布上繪畫。
草間在1973年從紐約回歸日本，然後開始了其穿梭療養院與工作室的生涯。歸國後的草間並沒有馬上延續在美國時期的大量油畫和裝置創作，反而轉向更多以紙上繪畫、拼貼畫以至文學創作為主。直到1980年代中後期，她開始重新把精力投入到布上繪畫創作，《蒙特利爾之光》正是完成於這個新階段的作品。
草間進入80年代已經全面棄油彩而改為用壓克力在畫布上創作。此時期筆觸處理上傾向平面化，線條俐落，色彩亮麗，對比鮮明，極富時尚活力，反映出日本在當年盛極一時的潮流文化。
在《蒙特利爾之光》中，草間以綠色線條建立了畫面的網狀結構，延續了她自五十年代開始發展的「無限之網」的風格和精神。畫中網眼的形態多變，像細胞聚合和繁衍，極富生命力和節奏感。對比典型的「無限之網」，此畫的網眼比例明顯偏大，其中充滿了洋紅色的小波點，看來就像繁華城市中無數的耀眼燈光，令作品呈現出生生不息的活力。
此作完成後的1989年，草間展開了她藝術事業中最重要的美國美術館巡迴展，從而肯定了她作為上世紀至今最具影響力藝術家之一的地位。
Saleroom notices
Please kindly note the correct dimensions of Lot 5 is 46 x 53 cm. 請注意拍品編號５的正確尺寸為46 x 53公分。
