Yayoi Kusama was born in Matsumoto City, Nagano Prefecture, Japan, and graduated from Matsumoto Girls' School in Nagano Prefecture, Japan. She moved to New York City in 1956 and began to show her leading avant-garde artistic creations. She now lives in Tokyo, Japan. She has had joint exhibitions with outstanding contemporary artists such as Andy Warhol, Klers Oldenburg and Jasper Jones. When he was less than 10 years old, Yayoi Kusama suffered from neurological vision and hearing impairment, and often had auditory and visual hallucinations. The world she sees is covered with a huge net, so she keeps drawing, trying to express her hallucinations with repeated dots, mental illness and artistic creation have been with her for almost her entire life.
In 1955, Yayoi Kusama communicated with the American female painter Georgia O'Keeffe and began to prepare for the United States. In 1956, she moved to the United States and spent most of her time creating in New York City, and she became known as the "Queen of the Avant-Garde". She participated in many anti-war movements in the 1960s. Kusama's ten years in the United States coincided with the prosperity of pop art. Many years later, when critics reorganized her creative process, they attributed Kusama’s madness to the complex social environment: “It was an era when hippies were rampant. Yayoi Kusama quickly realized that this country was What's popular? They protested the Vietnam War, took drugs, chased the mystery of the East, sought refuge from foreign religions, and advocated sexual liberation. Many people began to break conventions for their livelihoods, and some people became wealthy and famous because of this."
The repetitive dots are a kind of treatment for Yayoi Kusama rather than being used as a way for Yayoi Kusama to communicate with the world. Yayoi Kusama, who was born in Japan in 1929, was a lonely child. From a young age, she was interested in dots in real life. Mirrors, polka dot patterns, biological tentacles and tips are all motifs repeated in Yayoi Kusama’s later works. Her fascination with spots originated from a neurological audiovisual disorder in her childhood. This disease made her see the world as if it were separated from each other. With a layer of spotted nets. So she began to paint these spots, which are like cells, races, molecules, and the most basic elements of life. Kusama sees them as signals from the universe and nature. "The earth is just one of a million dots." She uses them to change the inherent sense of form, deliberately create continuity between things, to create an infinitely extending space, in which the audience cannot be sure. The boundary between the real world and the illusion.
In 1954, Yayoi Kusama had the following expression in his painting "Flower (DSPS)": "One day I was looking at the pattern on the red tablecloth, and I started to look around for the same pattern, from the ceiling and the windows. , The walls to every corner of the room, and finally my body and the universe. In the process of searching, I feel myself being obliterated, being rotated by the infinite time and absolute sense of space, I have become small and insignificant . In 1966, the work "Love Forever" uses a small round bulb and a large mirror infinite reflection of the space installation, resulting in a quite visually psychedelic work, which can be said to be a famous work by Yayoi Kusama. Yayoi Kusama is also considered a contemporary Japanese One of the authors, since she returned to Japan to settle in 1978, she has successively published more than 10 books including autobiography.
The death of her lover dealt a heavy blow to Yayoi Kusama, and her mental problems became more and more serious. In 1973, the second year after Joseph Cornell passed away, Yayoi Kusama returned to Tokyo from New York, left artists and critics, escaped the media, and lived alone in a mental sanatorium and disappeared. In 1993, Yayoi Kusama alone represented Japan at the Venice Biennale, re-emerged and established his position in international art. The dot queen, the Japanese art queen, the topic queen, the mentally ill, the strange mother-in-law, and many other labels together, are not enough to cover the complex and changeable life of Yayoi Kusama. Together with Nobuyoshi Araki, she was criticized as a representative figure of bad taste in Japan. She has used half a century of artistic creation to continuously prove herself, and witnessed contemporary art history with pioneer artists such as Andy Warhol and Yoko Ono.