Yayoi Kusama, Victoria Miro Mayfair

Yayoi Kusama’s newest series represents a far subtler side than the bombastic colours and phalluses that many might remember from her retrospective at the Tate Modern in 2012. The ten large canvases and the sculpture piece that make up this exhibition sit quietly in the beautifully, achingly white space; at first glance they seem to get lost in the brightness of the gallery. But move closer and these pieces come alive in typical Kusama fashion. 

This series is united by a repetition of the same design and method: small semi-circles are pasted in thick white paint, with a greyish wash underneath. But each one is remarkably different. A particular favourite is one which brings to mind the optical illusions of Bridget Riley, as Kusama’s semi-circles and greyscale wash resemble a cauliflower or wrinkled bedsheets, a rich textural feast for the eyes. 

The Infinity Nets form an important theme throughout Kusama’s career; since the 1950s, she has continued to revisit this diligent method, reproducing little semi circles over and over. In the late 1950s and early 1960s, Kusama would compulsively draw these nets without eating or sleeping; she has described these paintings as ‘visualisations of hallucinations’ that she has since childhood in which her field of vision is overtaken by these dots. These works represent something of a ‘back to basics’ for Kusama, and are a stunning window into her unique worldview.