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#MacroMondays
#InARow
Themes with a free choice of photo subject all too often are tricky for me because usually I'm overwhelmed with that freedom of choice ;) So for "In a Row", my mind went blank when it came to choosing what I could line up in a row. But I also knew that I definitely wanted to participate, because back in 2016 (!) the theme for what was only my second participation in MMs had been "In a Row" as well (you can find that photo in the first comment, if you like). As so often, too, postponing the photoshoot to Monday and hence imposing a little bit of time pressure on myself helped tremendously: If I wanted to participate, I had to find similar subjects to line up – and I had to find them fast. So I walked around the apartment, looked into drawers, and at what I have on my bookshelves, and there it was: my perpetual calendar bullterrier thingy, a cute-looking black (strange enough) bullterrier stoneware figurine that holds four small stoneware cubes with numbers, weekdays, and months printed on all sides of the cubes. I have already used these "date cubes" for another MM theme as well, my fourth MM participation for our "Edge" theme (also from October 2016 – it's in the first comment, too).
The date had to be Monday 17 July, of course, even though it's a little cliché, but I thought it would be stupid to choose a random date to avoid using today's MM date. A fun coincidence is that the date you can see on the cubes' upper sides, Friday 15 December, will be correct in a few months to come because this year, 15 December will indeed be a Friday :)
Setup: To achieve the multiple/infinite reflection effect, I used two different mirrors that are part of an infinity mirror tea light holder. It consists of a regular mirror that is placed behind the actual tea light holder and a translucent piece of glass with a special reflective coating that is placed in front of the tea light holder. For the photo, I put that piece of glass directly onto the mirror and placed the date cubes (size of each cube: 1 cm³/0,061 in³) on top of it. The final image is a focus stacking made of 15 DNGs which I've combined in Helicon Focus. The stacking method that yielded the best results was method A, radius 8, smoothing 4. Processed in DXO PL6, Color and Analog Efex, and Lightroom (primary color sliders boost).
HMM, Everyone!
An infinity mirror installation filled with a dazzling galaxy of coloured lights. The mirrored surfaces create endless reflections, multiplying me into countless versions of myself in many directions.
At the Be Happy Museum, Szczecin.
Excerpt from torontolife.com:
Dots Obsession—Love Transformed into Dots, 2007
Kusama is obsessed with polka dots. To her, a dot symbolizes life, because of its resemblance to a nucleus, or a small, single existence in an infinite universe. Dots dominate this room, filled with pink lantern-like balloons. The work includes a projection of Kusama singing an original poem about suicide, a stark contrast to the vibrant whimsy of Dots Obsession.
Excerpt from pechluck.com:
Kusama has always been very bold and unapologetic in her feminism and sexual liberation. But there’s also a feeling of whimsy and energy with these yellow polka dots.
“A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm,” says Kusama. “Round, soft, colourful, senseless and unknowing. Polka-dots become movement … Polka dots are a way to infinity.”
Excerpt from pechluck.com:
As a child, there was a riverbed with stones behind Kusama’s house that she was fascinated with.
Excerpt from torontolife.com:
Love Forever, 1966
One of Kusama’s most psychedelic works is Love Forever, an incandescent Infinity Mirror Room inspired by the free-love, antiwar and civil-rights movements of the 1960s. Instead of entering the room, viewers peer in through two peepholes on opposite ends of the trippy hexagonal chamber. The lights inside turn on and off to create different patterns.
Excerpt from torontolife.com:
Love Forever, 1966
One of Kusama’s most psychedelic works is Love Forever, an incandescent Infinity Mirror Room inspired by the free-love, antiwar and civil-rights movements of the 1960s. Instead of entering the room, viewers peer in through two peepholes on opposite ends of the trippy hexagonal chamber. The lights inside turn on and off to create different patterns.
Excerpt from ago.ca:
Kusama’s supplementary installation Narcissus Garden, featuring 1,300 stainless-steel mirror balls spread throughout our Signy-Eaton Gallery.
Created in 1966, the first incarnation of Narcissus Garden appeared in the gardens outside of that year’s Venice Biennale. As one of her first pieces of performance art, Kusama planted a sign reading “Your Narcissism for Sale” and sold each mirror ball to visitors for two dollars.
Excerpt from pechluck.com:
Kusama returned to making sculptures in the mid-1970s, continuing to use phallic forms. She often coated these works with silver paint, evoking the reflective surfaces of her Infinity Mirror Rooms. The results are less organic than the early Accumulations, their sheen frozen and ethereal.
Excerpt from torontolife.com:
Aftermath of Obliteration of Eternity, 2009
The flickering LEDs inside this room reference toro nagashi, a Japanese ceremony in which paper lanterns float downstream to guide ancestral spirits to their resting place.
Excerpt from torontolife.com:
The Souls of Millions of Light Years Away, 2013
Kusama always thinks about the cosmos as she begins painting on canvasses. She evokes outer space with this room, which reflects acrylic bulbs to create a starry night sky.
Infinity Mirrors by YAYOI KUSAMA at the Hirshhorn
D4 w/ 24mm f/3.5 PC
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Excerpt from realchangenews.org:
The introduction into Kusama’s world is with her most recent works, “My Eternal Soul,” a series of large scale acrylic-on-canvas paintings and sculptures. Each piece is dazzling with color. The sculptures resemble microscopic organisms, eyes and the ever-present dot is widely utilized. She started the series in 2009 with the intention of creating 100 pieces. Today, there are nearly 600 in the collection. Kusama said the paintings trace the “beauty of colors and space in the silence of death’s footsteps and the ‘nothingness’ it promises.”
I'll probably lose sleep wondering if I should have picked Jem for this shoot instead of Jerrica, but what's done is done.
Excerpt from torontolife.com:
All the Eternal Love I Have for the Pumpkins, 2016
Kusama filled this room with soft sculptures of a type of pumpkin native to Japan. It’s a tender gesture of affection for the natural world, with a subtle environmentalist message. At the AGO, visitors won’t be allowed to use cameras in this room, as a way of forcing them to relish the moment instead of stressing to get the perfect selfie.
Excerpt from torontolife.com:
The Obliteration Room, 2018
Each of the five North American galleries and museums hosting the Infinity Mirrors tour has its own Obliteration Room. It begins as a stark white chamber, and as visitors pass through, they place dot-shaped stickers where they please. As a nod to Toronto’s obsession with patios, the Obliteration Room created for the AGO will have a backyard deck with Muskoka chairs, a firepit and a cooler.
Excerpt from ttc.ca:
From now until May, TTC customers will notice something different about two low-floor streetcars and two downtown subway stations. In anticipation of internationally-renowned artist Yayoi Kusama’s upcoming exhibit, Yayoi Kusama: Infinity Mirrors at the Art Gallery of Ontario (AGO), parts of the system are being taken over by polka dots.
The TTC is surprising and delighting customers and Torontonians with a sneak peek of Kusama’s iconic dots in few-of-a-kind installations designed by the artist especially for the TTC. Customers travelling through Spadina and St Patrick stations or on one of the specially wrapped low-floor streetcars will be treated to the preview and encouraged to share some ‘spots’ with their fellow riders.
The AGO exhibit – the artist’s only Canadian showing - will run from March 3 to May 27, 2018 and will feature the North American debut of numerous new works by the 88-year-old Japanese artist. The TTC is proud to partner with the AGO on this highly anticipated event to bring Torontonians an exclusive, immersive experience.
Excerpt from torontolife.com:
The Obliteration Room, 2018
Each of the five North American galleries and museums hosting the Infinity Mirrors tour has its own Obliteration Room. It begins as a stark white chamber, and as visitors pass through, they place dot-shaped stickers where they please. As a nod to Toronto’s obsession with patios, the Obliteration Room created for the AGO will have a backyard deck with Muskoka chairs, a firepit and a cooler.
#jemandtheholograms #dollstagram #toyphotography #jemdolls #trulyoutrageous #fashiondoll #adultcollector #saturdaymorningcartoons #jem #retrotoys #dollphotography #80s #toycollector #dollcollector #infinitymirrors #hasbro
Reflections 52 Weeks of 2022 Week #49 Reflections
This is a infinity mirror we have in our lounge it goes on forever, Not as easy to photograph as you can see the camera in the photo without looking from the side, as I have done!!
Below is a wider view of the mirrors!!
Taken 10th December 2022
Best viewed Large Press "L"
You can see my other 52 in 2022 photos here :-
www.flickr.com/photos/123248944@N05/albums/72177720295746405
Excerpt from torontolife.com:
Phalli’s Field, 1965
In New York, Kusama began creating soft sculptures out of sewn, cotton-stuffed fabrics. Her goal was to immerse audiences in a sea of sculptures, so she experimented with mirrors to multiply her creations endlessly, giving birth to her first Infinity Room, Phalli’s Field. The phallic forms are an expression of her fear of sex.