« Cometa » in Spanish, « Tako » in Japanese or « Drachen » in German, kites are well-known objects around the world. Kites stem from a long far Eastern tradition, where it was part of the so called 'art de vivre'. Originally coming from China during the 7th century, kites, conquered the Isles of Japan where they became extremely popular and had quickly become a form of « art folie »: millions of people used kites in different shapes and colours during festive occasions. Kites continued to gaining popularity in Asia. Their allure would spread through India, Arabia and eventually Europe.
In 1987 Professor Paul Eubel, Asian culture aficionado and director of the Goethe Institute at Osaka decided to launch an international project to reinvent the traditional kite. The professor invited the biggest artists from around the World to create kites - which would essentially be artworks. About a hundred artists accepted the assignment and received precious artisanal washi paper. This high-quality support whitens over time due to the effects of light and hardens over the span of 12 years to develop a parchment-like texture. The artists were offered a choice of seven of the most popular forms. Some of them favored traditional forms, others ventured out on their own and invented new ones. Sometimes the the artists would be well aware of the risk of their kite never taking flight due to technical issues.
Entitled 'Fire' (1988) this kite was realised by the famous Japanese artist Yayoi Kusama. She opted for a rectangular form « Edo », that perfectly incarnates the mix between tradition and innovation. In 1988 Kusama also created an oil on canvas entitled: « Flame of life », in which the red motif is identical to that of the kite.
The small organic herbal forms seem to overtake the space, and spread infinately.The motif has such an effect on the eyes that it destabilizes our perception. The artist was inspired by this optical phenomenon which exists nature as well. When diving into the sea, towards banks of coral.
The very same feeling of endlessness are present in Kusama's paintings. At times the repetition of the same pattern gives the spectator a feeling of unease. The paintbrush becomes the medium to chase away and overcome agoraphobia. In vain the eye is searching for a point of reference and reason to comprehend and interpret the phenomenon. It is like studying cells through a microscope, forever dividing and multiplying and filling up the whole universe. Are the million sparks dancing on the kite, maybe part of an insatiable fire that will light up the sky...