One of the best-known artists leading the way in Infinity Mirror installations is none other than Yayoi Kusama. She was born in Matsumoto, Japan, where she studied at the Kyoto School of Arts and Crafts. There she specialized in painting in a traditional Japanese style known as Nihonga. During the 1960s, Kusama created her Infinity Mirror Rooms series. Since then, her work has exploded into the art world, with thousands gathering to experience her infinity mirror rooms.

Early installations sat within a single space, covered from floor to ceiling with mirrors, flickering lights, and water. Kusama uses her work to escape her intrusive thoughts by sharing them with the rest of the World in 1977. She then admitted herself to the Seiwa Hospital for the mentally ill. This is where she still lives today. She uses her art as an intimate way to express herself and escape her illness. She works to create experiences that bring forth feelings of calm and quiet, allowing others to sympathize with her troubled life.

Iván Navarro is a conceptual sculptor from Santiago, Chile. Navarro currently resides in Brooklyn, NY. This is where he creates his pieces today. His sculptures speak of his childhood in his homeland under the director Augusto Pinochet. Pinochet controlled his people through electricity, a significant influence in Navarro’s work. He would turn off the electricity and force people to remain isolated in their homes. His pieces apply to the fear and control of human behavior through electricity.

Navarro seeks to provide a voice to people who remain voiceless. He chooses to work with materials incorporating lights, mirrors, and electricity. His lights and mirrors work help viewers to lose themselves in an “apparently infinity space.” Neon phrases and other structures loom out towards the viewer in these pieces. This provides a sense of more and a fear of what lies beyond his politically and socially drive components.

Olivia Steele is a conceptual artist known for her breathtaking neon sign installations. Originally from Nashville, Tennessee. Steele grew up to study visual communication in Italy. She took her studies as a conceptual artist and began creating pieces on her father’s truisms to life—being interested in contrast and contradiction in nature and life. She naturally surrounds her works. Steele invites her audience to “temp preconceptions” and to “see rather than think.”

By combining neon lights with mirrors and natural settings, Steele sends a message to question modern culture. The choice of text and location adds layers of meaning to her pieces. She invites the viewer to relate to her work through a more internal and personals connection through this ambiguity. She states, “it is the spectator and now life that art mirrors.”

Known for being a multi-disciplinary artist, Peter Gronquist is a master at his craft. Gronquist designed his body of work to challenge common sensibility through the use of found objects. Much of his work uses video, paintings, sculpture, and site-specific installations. He is also known for experiencing found objects, lights, metals, and mirrors.

One of his more famous series uses Infinity Mirrors, designed to match the human scale. Through his choice in size, he evokes an experience causing viewers to feel that they could fall into one of his pieces. He is currently residing in Portland, Oregon. Gonquist continues to create his work to challenge American’s consumerism, excess, and escapism. His viewers’ goal is to cause them to stop and dismantle his work through their personal experiences when viewing his pieces.

Chul-Hyun Ahn presents his work through a combination of mirrors and lights. Born in Busan, Korea, he studied at Chu-Gye University for the Arts in Seoul. Ahn developed his career into what it is today, a body of impressive optical display. He chooses to evoke his user’s experience through “lights ability to illuminate and transform natural beauty.” Bases in Baltimore, Ahn explores theories of the subconscious through his artwork. His use of one way mirrors and led lights allow for a passageway between the viewer and artwork to form. The intentional choice in color, light, and illusions allows Ahn further to explore vudial space between his work and the viewer.