Modern & Contemporary Auction

Modern & Contemporary Auction

View full screen - View 1 of Lot 28. Yayoi Kusama 草間彌生 | Red nets 紅色無限網.

Yayoi Kusama

Yayoi Kusama 草間彌生 | Red nets 紅色無限網

Auction Closed

August 28, 09:27 AM GMT


420,000 - 750,000 SGD

Lot Details


Yayoi Kusama

b. 1929

Red Nets

oil on canvasboard

executed in 1966

signed, titled and dated KUSAMA RED NETS 1966 on the reverse

61 by 50.5 cm; 24 by 19 7⁄8 in. 

Executed in 1966, this work is accompanied by a registration card issued by YAYOI KUSAMA Inc.










Collection of Frances and Frank Okazaki, New York (acquired directly from the artist, 1966)

Private Collection (By descent from the above to the previous owner, and sold: Christie’s New York, 12 November 2021, Lot 139)

Private Asian Collection (acquired directly from the above sale)


紐約,Frances 與 Frank Okazaki收藏(1966年直接購自藝術家本人)



Intricately complex and exquisitely beautiful, Red Nets (1966) is an entrancing early example of Yayoi Kusama’s Infinity Nets, the artist’s largest and most acclaimed body of work.

Kusama exhibited her first Infinity Net paintings in New York in 1959. Driven by a great ambition to become a successful artist and rival the dominant male voices of the time, she responded to the prevailing avant-garde language of Abstract Expressionism by turning personal psychological impulse into an ingenious formal concern. Taking on the all-over compositional modus of Ab Ex painters, Kusama developed an all-encompassing visual semantics that privileged repetition and infinity. Although she was first affiliated with the Ab Ex movement in New York, Kusama has defied categrorisation throughout her career. In Japan, her earliest work was considered Surrealist, while the 1960s brought group exhibitions alongside Pop artists and the European ZERO; indeed, the breadth of her practice has spanned performance, video, sculpture, installation, and even literature. Amongst this diverse body of work, however, it is the Infinity Nets that stand as the most iconic and enduring iteration of her ground-breaking practice.

Beneath such a singular aesthetic of epic proportions is a profoundly personal and fragile core. Diagnosed with an obsessional neurosis, Kusama used her art to "self-obliterate" hallucinatory visions through the process of compulsive reproduction of dots and arcs. The present work, with its red and pink arches against a white background, vividly recalls one childhood hallucination in particular – the very first, and the most significant. Kusama recounts: “One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant my soul was obliterated and I was restored, returned to infinity, to eternal time and absolute space. This was not an illusion but reality itself. I was shocked to see to the depths of my soul” (the artist cited in Infinity Net: The Autobiography of Yayoi Kusama, London 2011, n.p.).

Examples from the esteemed handful of early Infinity Nets are held in renowned museum collections such as the Solomon R. Guggenheim Museum in New York, the Museum of Modern Art, and the Art Institute of Chicago, among other pre-eminent institutions. A striking testament to the alluring and disorienting spatial complexity that has defined Kusama’s work for decades, Red Nets is an archetypal example of the artist’s most beloved body of work, a shimmering, vibrant display of Kusama’s singular visual language.




《無限網》系列的早期作品在市場上屈指可數,如今大多由各地知名博物館及機構收藏,包括紐約古根海姆美術館 、紐約現代藝術博物館、芝加哥藝術博物館等。草間彌生默默而熱烈地伏案創作數十載,揮筆灑出一片片令人目眩神迷的複雜空間,而《無限網》堪稱其最受市場和大眾喜愛的作品系列,這幅《紅色無限網》就是一幅出色佳作,展示她獨一無二、閃耀動人的視覺語言。