From the point of view of one who creates, everything is a gamble, a leap into the unknown

contemporary artist who works in sculpture, installation, and also active in painting, performance, video art, fashion and other arts

Yayoi Kusama is a Japanese

March 1929 in Matsumoto, Nagano. Born into a family of merchants who owned a plant nursery and a seed farm. Kusama began drawing when she was 10 years old.

She drew pictures of pumpkins and dots in elementary school and created artwork she saw from hallucinations, works of which would later define her career

Yayoi Kusama was born on 22

Matsumoto, Nagano. Born into a family of merchants who owned a plant nursery and a seed farm. Kusama began drawing when she was 10 years old.

She drew pictures of pumpkins and dots in elementary school and created artwork she saw from hallucinations, works of which would later define her career

Yayoi Kusama was born on 22 March 1929 in

art. Kusama would rush to finish her art because her mother would take it away to destroy it

She started studying art and saw the only painting of Georgia O'Keeffe available in Japan at that time – black Iris. It made a huge impression on her and was inspired, so Kusama found the address of Georgia O'Keeffe and wrote her a letter

Her mother was not supportive of her creative

her creative art. Kusama would rush to finish her art because her mother would take it away to destroy it

She started studying art and saw the only painting of Georgia O'Keeffe available in Japan at that time – black Iris. It made a huge impression on her and was inspired, so Kusama found the address of Georgia O'Keeffe and wrote her a letter

Her mother was not supportive of

1958, she was one of the first

Japanese women to arrive after the war.

She entered the Empire State and promised herself that she would conquer because she was confident in herself

She did everything to get and break into the world of art: this is how her first exhibition took place

exhibitions in New York, at the Brata Gallery, and in Boston, at the Nova Gallery. At both exhibitions, she made her debut with a series of paintings that would later become known as "Infinity Nets"

A year after moving, she held her first solo

her first solo exhibitions in New York, at the Brata Gallery, and in Boston, at the Nova Gallery. At both exhibitions, she made her debut with a series of paintings that would later become known as "Infinity Nets"

A year after moving, she held

Critics highly appreciated these works and gave positive reviews about the work of Yayoi Kusama in numerous publications

She painted tiny loops with white paint on a black background, evenly covering the canvas with a grid.

The thin white blur on top of the drawing made it even more subtle, so that from a distance the paintings gave the impression of blank canvases, while up close they showed thick, organic accumulations of paint.

were later used by other artists. So, her installation Aggregation: One Thousand Boats Show subsequently reflected on the work of Andy Warhol, who later began using repetitive images in wallpaper, and in 1962 created his famous "Campbell Soup Cans". And after the joint exhibition of Kusama with Klass Oldenburg, the latter took up soft textile sculpture after a while.

Many of the ideas brought to her own work

own work were later used by other artists. So, her installation Aggregation: One Thousand Boats Show subsequently reflected on the work of Andy Warhol, who later began using repetitive images in wallpaper, and in 1962 created his famous "Campbell Soup Cans". And after the joint exhibition of Kusama with Klass Oldenburg, the latter took up soft textile sculpture after a while.

Many of the ideas brought to her

In 1965 Kusama exhibited her works in Stockholm, Amsterdam, The Hague and Bern. At a solo exhibition at the Richard Castellan Gallery in New York, she presented her most experimental work to date: a mirror installation, where mirrors made her sculptural forms infinite

Infinity Mirror Room – a field of Phalluses

Phalluses. In 1965 Kusama exhibited her works in Stockholm, Amsterdam, The Hague and Bern. At a solo exhibition at the Richard Castellan Gallery in New York, she presented her most experimental work to date: a mirror installation, where mirrors made her sculptural forms infinite

Venice Biennale. For this event, the artist created the installation Garden of Daffodils. Fifteen hundred mirror spheres with a diameter of about 30 cm each were laid on the lawn.

The uncoordinated action with thousands of mirror balls, which she sold by analogy with an ice cream stall or a hot dog for only $2, was explosive, because art should 
be expensive or inaccessible

In 1966, Kusama was invited to take part in the

take part in the Venice Biennale. For this event, the artist created the installation Garden of Daffodils. Fifteen hundred mirror spheres with a diameter of about 30 cm each were laid on the lawn.

The uncoordinated action with thousands of mirror balls, which she sold by analogy with an ice cream stall or a hot dog for only $2, was explosive, because art should be expensive or inaccessible

In 1966, Kusama was invited to

Copying her work led to depression... which caused uncertainty, fear... infinity... fear of whether she can handle it or not....

Yayoi Kusama lived in New York from 1958 to 1973. Despite the fact that she achieved success in America, in the 1970s the artist was forced to return to Japan to solve mental health problems.

Return to Japan and start all over again.

After her return, Yayoi remained relatively

obscure for a long time. She suffered greatly because of rejection, so she disappeared for almost 20 years.....

start all over again. Yayoi Kusama lived in New York from 1958 to 1973. Despite the fact that she achieved success in America, in the 1970s the artist was forced to return to Japan to solve mental health problems.

Return to Japan and

After her return,

Yayoi remained relatively obscure for a long time. She suffered greatly because of rejection, so she disappeared for almost 20 years.....

her homeland, she was again seen in public at the opening of the Venice Biennale. Her project — a dazzling mirrored room filled with sculptures of pumpkins and similar to an elaborate pumpkin patch was a great success.”

The first Japanese woman who presented her works/ Kusama used her injuries in a creative way for her creativity. Until now, many people use her work and make collaborations with her

Only in 1993, 20 years after returning to

returning to her homeland, she was again seen in public at the opening of the Venice Biennale. Her project — a dazzling mirrored room filled with sculptures of pumpkins and similar to an elaborate pumpkin patch was a great success.”

The first Japanese woman who presented her works/ Kusama used her injuries in a creative way for her creativity. Until now, many people use her work and make collaborations with her

Only in 1993, 20 years after