From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a
black - fringed molten - pink
ground, to the strata - like composition of Standing
on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like
dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.
Besides A Woman, the early work includes various versions of Kusama's Infinity Net paintings, for which she scraped away at white paint slathered
on a dark
ground to fashion lozenges of
black or grey, a precursor to her more mechanically perfect polka
dot.