Pumpkin Chess Set Analysis

This ceramic sculpture by Yayoi Kusama. This title is "Pumpkin Chess Set ". It was made in the year 2003. Medium are used is painted porcelain, with high 122.5 x 122.5 x 75 cm (48.2 x 48.2 x 29.5 in.). Yayoi Kusama is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, it is including painting, collage, sculpture, performance art, and environmental installations. The most of which exhibit her thematic interest in psychedelic colours, repetition and pattern. On the "Pumpkin Chess Set" she uses brightly coloured and also polka dots pattern at the artwork. Kusama made the full set of chess which thirty-two chess piece. She made a large chess set. She also uses a pumpkin as a holding of chess. Furthermore,

With a title “Asphyxia”. Asphyxia, it meaning a condition arising when the body is deprived of oxygen, causing unconsciousness or death, suffocation. It was made in year 2013. Size H: 11" W: 9" D: 11". Media are use is Ceramic, and acrylic. From this artwork we can see this artwork are use texture of tree. With use colour of grey and also brown. Christopher are use the creepy texture to show the effect of on ceramic about “Asphyxia”. Besides that, the artist is focusing on the details, such as the usage of variety of line to create the wood textures. It is Wood’ Sculptures but that are actually made of ceramic. Artist statement “That nothing is static or fixed, that all is fleeting and impermanent, is the first mark of existence. It is the ordinary state of affairs. Everything is in process. Everything– every tree, every blade of grass, all the animals, insects, human beings, buildings, the animate and the inanimate—is always changing, moment to moment.—Pema Chodron With nature undergoing a perpetual transformation, everything derived from nature is subject to the same repetitive cycle of growth and decay—of life and death. Change is a constant reminder that permanence is the ultimate illusion. It is through the creation of hyper-realistic sculpture that I explore the relationship between nature, man, and the phenomenon of impermanence. I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them. To accomplish this, I begin by observing instances of decay within my surroundings that I find inspiring due to form, color, or texture. With clay as my medium of choice I then meticulously render by hand those elements, taking advantage of clay’s innate ability to mimic a wide variety of materials. I utilize trompe l’oeil as a stylistic choice to emphasize the concept that our understanding of the world is an illusion. The