The Early Years of Kusama Yayoi

Kusama Yayoi, an artist whose name has become synonymous with vibrant, hallucinatory works of art, was born on March 22, 1929, in Matsumoto City, Nagano Prefecture, Japan. Her early years were shaped by a combination of personal turmoil and cultural constraints, both of which would profoundly influence her artistic journey.

Kusama was born into a conservative and wealthy family, the youngest of four children. Her parents ran a seed nursery, which might explain the floral motifs and organic forms that later became hallmarks of her work. However, her childhood was far from idyllic. Her mother, Shigeru, was overbearing and abusive, while her father, Kamon, was often absent, involved in extramarital affairs that deeply troubled the young Kusama. This turbulent family life left her feeling isolated and misunderstood, conditions that fueled her later creative expression.

From a very young age, Kusama exhibited signs of what would later be diagnosed as obsessive-compulsive disorder. She experienced vivid hallucinations, often seeing patterns and dots everywhere around her. These hallucinations were frightening, yet they also sparked her artistic imagination. At the age of ten, she began drawing the visions she saw, filling page after page with dots, nets, and intricate patterns. Despite her mother’s disapproval and attempts to destroy her artwork, Kusama persevered, finding solace and purpose in her drawings.

Kusama's early artistic education was limited by the conservative nature of her upbringing. Her mother disapproved of her artistic aspirations and pushed her towards more traditional roles expected of women in that era. Despite these obstacles, Kusama found ways to educate herself about art. She frequented local libraries and absorbed whatever art books she could find, nurturing a passion for the avant-garde movements burgeoning in Europe and America.

In 1948, Kusama enrolled in the Kyoto Municipal School of Arts and Crafts, where she studied Nihonga, a traditional Japanese painting style. However, the rigid conventions of Nihonga frustrated her. Kusama was drawn to more experimental forms of expression, influenced by the works of European and American avant-garde artists. She began incorporating surreal and abstract elements into her work, often clashing with her instructors. Her time at the school was short-lived; feeling stifled by the conservative curriculum, she left before completing her degree.

Kusama's desire to escape the confines of her environment grew stronger. She corresponded with Georgia O'Keeffe, whose work she admired deeply. To Kusama’s surprise, O'Keeffe responded, offering encouragement and advice. This exchange was a pivotal moment, affirming Kusama’s belief in her artistic potential and her need to leave Japan to fully realize it. In 1957, with a small amount of money sewn into her dress, Kusama boarded a plane to the United States, determined to make her mark on the New York art scene.

New York in the late 1950s was a hub of artistic innovation, and Kusama arrived at a time when Abstract Expressionism was at its peak. She was immediately struck by the city’s energy and the freedom it offered. However, the early years in New York were fraught with challenges. She lived in poverty, struggling to make ends meet while trying to establish herself in a male-dominated art world. Yet, these hardships did not deter her. Kusama’s work ethic was relentless, and she quickly immersed herself in the vibrant artistic community.

Kusama's early works in New York were radical and audacious. She began creating large-scale paintings covered in repetitive, rhythmic patterns of dots and nets. These “infinity nets” became her signature style, representing her attempt to capture the infinite and the sublime. Her first solo exhibition in New York, held at the Brata Gallery in 1959, featured these mesmerizing canvases and received critical acclaim. Art critics praised her innovative approach, and her reputation began to grow. By Gregory Howell