"Dreaming of an Undeniable Eternal Union"... Louise Bourgeois's 'Red Aesthetics'

Kukje Gallery Sheds Light on Louise Bourgeois's Final Two Decades
Fifty Works Explore "Two People," "Red," and the Fusion of Contrasting Concepts

Kukje Gallery K3 in Jongno-gu, Seoul, which is hosting Louise Bourgeois's solo exhibition "Rocking to Infinity," has been bathed in shades of red. Bourgeois predominantly used red gouache (an opaque watercolor paint) in her works, and the exhibition features around 50 sculptures and drawings created over the last 20 years of her life.

Installation view of Louise Bourgeois solo exhibition 'Rocking to Infinity' at Kukje Gallery K3. Kukje Gallery

Although the exact reason Bourgeois favored the color red remains unclear, it is widely believed that its intensity resonated with her emotional state, as she suffered from severe anxiety throughout her life. Philippe Larrat Smith, curator at the Easton Foundation and a participant in organizing the exhibition, explained, "The emotional intensity of red likely influenced Bourgeois," adding, "Red is also associated with childbirth (bleeding), which is relevant here." Bourgeois considered childbirth as a separation from the mother, and she longed for complete and eternal union throughout her life, experiencing deep anxiety in the reality where this was unattainable.

The series "10 AM Is When You Come To Me" (2006), which depicts red hands approaching and receding from each other in various iterations, visually represents her relationship with Gorovoy, who worked as her assistant for many years, much like a musical score. Among the two hands, the larger one belongs to Gorovoy, while the hand with a ring is Bourgeois's. Regarding this, Smith commented, "Bourgeois's background in mathematics likely played a role," and "the musical score reveals a geometric search for stability amid chaos."

The sculptural work "Untitled (No.5)" (1998), depicting the overlapping hands of a bourgeois and a goroboy. It embodies the hope that the connection between people will last forever. Photo by Seo Mideum

The sculpture "Untitled (No.5)" (1998), located at the center of the exhibition hall, represents the overlapping hands of the artist and Gorovoy, symbolizing their emotional bond. During her lifetime, Bourgeois often used marble in her work, believing its texture resembled human flesh. Smith noted, "The hands in the piece resemble the 'angel's chair' position, which is used when carrying an injured person. This symbolizes connection," adding, "It represents a state where people are connected and remain closed off together, continuing infinitely."

The sculptural work "Fountain" (1999) also embodies the themes of "union" and "infinity." At the top of the sculpture, streams of water flow from two spiral mounds and merge into one, with the two mounds forming the shape of the number "8," a symbol of infinity. Bourgeois's longing for eternity is palpable in her depiction of two individuals becoming one, expressing an intimate relationship that aspires to last forever.

The artwork "The Couple" (2007?2009), hanging from the ceiling, depicts a man and a woman intertwined within a spiral structure extending from the woman's head. Made of aluminum, the piece reflects the viewer's face when approached closely, and its shape changes depending on the viewing angle, which is the key point of appreciation. Photo by Seo Mideum

The artwork "The Couple" (2007-2009), hanging from the ceiling, depicts a man and a woman intertwined within a spiral structure extending from the woman's head. Made of aluminum, the piece reflects the viewer's face when approached closely, and its shape changes depending on the viewing angle, which is a key point of appreciation. Smith explained, "The appearance changes depending on the angle, symbolizing how desires manifest differently according to each person's circumstances. The sculpture's reliance on a single rope highlights its fragility and vulnerability. Bourgeois's works always explore contrasting elements together."

In addition, works featuring motifs such as self-portraits, lovers, mothers and children, idealized motherhood, family, and landscapes-subjects Bourgeois explored intensively in her later years-are displayed along the lower part of the gallery walls. Notably, the recurring composition of "two people" in these pieces underscores Bourgeois's emphasis on relationships with others.

Installation view of Louise Bourgeois solo exhibition 'Rocking to Infinity' at International Gallery Hanok. International Gallery

At the Hanok exhibition space of Kukje Gallery, 16 out of 25 works created with coffee filters in 1994 are on display. These pieces are unusual for Bourgeois, as they are circular in form. It is known that Bourgeois created these works spontaneously, using objects at hand whenever inspiration struck. Smith commented, "The circular form has been widely used in art history, especially in Renaissance tondo paintings (circular artworks from the Renaissance period), which often depicted mothers and children. Bourgeois was likely aware of this tradition," adding, "These works express her longing to return to her mother." The exhibition runs through October 26.