I first met Yayoi Kusama (b. 1929, Japan) in the Queensland Gallery of Modern Art 2011 exhibition Look Now, See Forever. I don’t mean met her in person, but I met her art. I recall best the dots. She must be the best dotter I have ever come across. I recall standing in the red dots obsession room feeling overjoyed at the audacity that this could be art. Kusama’s work provided an aesthetic affective experience and was surprising and delightful. Could art really be this much fun? At the time I admit I did not immerse myself in the Kusama’s story and her amazing feats as a female Japanese artist in a white men’s art world. I simply took in the colour and brightness as I lost myself in the immersive works, watched the video installations with amusement and was delighted by the enormous flowers that bloom at midnight.
When the image of the drowned boy on a Turkish beach first came onto my screen I thought it was an art work. An artist highlighting the tragedy playing out in the mediterranean with thousands and thousands of ‘boat people’ crossing the waters away from chaos and conflict in search of asylum and peace in Europe. The porcelain coloured skin against the absurdly bright red t-shirt, the soles of his shoes and that pasty colour of his ear seemed to me surreal, artistic, not real life. I did not pay a great deal of attention at first.
It was not the best weather for a week in a summer house at Boeslem Strand, Ebeltoft, Mols. We spent some time calculating the best opportunity to mount the bikes and ride into the natural beauty of this place. Huge tracts of the area is incorporated into Mols Bjerge National Park, protected since 2009. Greedily, we rode both the tandem bike and a couple of town bikes to get around when the weather smiled upon us. Sometimes we did get caught in the rain, but unperturbed on we rode.