Artist: Yayoi Kusama
草間彌生移居美國後，她展出的第一批作品是她的水彩畫。這些第一批紙上作品顯示出這位畫家擺脫了自小就受教的日本傳統藝術實踐，並接受了西方藝術的影響，尤其是在抽象方面。女人是這些早期抽象作品之一。水彩畫描繪了一種奇異的生物形態，其中心微妙的點漂浮在一個看似黑色的深淵中。這種形式讓人聯想到女性生殖器，周圍有紅色的尖刺。這項工作的總體效果是侵略性和怪異的，顯示出草間彌生因精神疾病和性焦慮而掙扎的跡象。
When Kusama moved to the United States, the first works she exhibited were her watercolors. These first works on paper showed the artist breaking free from the traditional Japanese artistic practices she was taught as a child and embracing Western artistic influences, especially in regards to abstraction. The Woman is one of these earlier abstract works. The watercolor depicts a singular biomorphic form with subtle dots in the center floating in a seemingly black abyss. The form is reminiscent of female genitalia with red spikes surrounding it. The overall effect of the work is aggressive and bizarre, showing signs of Kusama's struggles with mental illness and anxiety towards sex.
草間彌生從很小的時候開始就經歷了幻覺，其中一種模式會吞沒她視野中的一切。正如草間彌生所解釋的那樣：“有一天，我看著桌子上桌布的紅色花朵圖案，當我抬頭看時，我看到了覆蓋天花板，窗戶和牆壁以及整個房間的相同圖案，身體和宇宙。我覺得自己已經開始自我毀滅，在無盡的時間和空間的絕對無限中旋轉，並淪為虛無。” 當草間彌生試圖表達自己認為是她的另一種現實時，這些自我遮蔽和無限表達的主題將成為她的痴迷。她對點的使用成為了這一努力的體現，併成為她作品中的決定性主題。
From a very young age, Kusama experienced hallucinations in which a single pattern would engulf everything in her field of vision. As Kusama explains, "one day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body, and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness." These themes of self-obliteration and representation of the infinite would become an obsession for Kusama as she attempted to represent what she believed to be her alternate reality. Her use of dots became the manifestation of this effort and has become the defining motif in her work.
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