You’re probably familiar with her trademark polka dots – but there is so much more to Yayoi Kusama’s body of work. For the very first time, Kusama: Infinity (2018) dives into the highs and lows of the artist in her own words.
Directed by Heather Lenz, this documentary commemorates the life and work of a prolific artist and pioneer of installation work and performance art. Kusama has been open about her problems with her own mental health and has lived in a mental health institution in Japan since 1977 by her own volition. She’s famously been quoted in the Art Review, “If it were not for art, I would have killed myself a long time ago”, proving a significant devotion to tirelessly producing art.
Born into a conservative Japanese family in 1929, Kusama had a difficult upbringing with very little family support of her ambitions to make art. Her interests in the avant garde and experimental art garnering attention in the West led her to try and make it in the New York art scene.
In Kusama: Infinity, experiences of sexuality, racism, and politics (of war and gender) can be traced back to statements gathered about her experiences in her childhood and adolescence. It makes sense that her body of work is semi-autobiographical, often alluding and expressing a visual representation to hallucinations she experienced as a child.
Now in her 90s, Yayoi Kusama is more prolific than ever. Due to her popularity, her installations now impose a 2 minute limit on visitors to make sure everyone gets a chance to experience her art. Kusama’s rocky journey is a source of inspiration for creatives pursuing the many forms of creativity and encourages you to find your own peace in a difficult world.
Watch Kusama: Infinity on the many platforms available for online streaming or DVD purchase here.
In the UK? Check out Kusama’s Infinity Mirror Room at the Tate Modern. The exhibition itself has been in high-demand since the beginning of 2021, with tickets selling out almost instantly. Kusama’s Infinity Mirror Rooms features two unique installations, along with some photographs and footage documenting her experimental practices while in New York between 1957 – 1973.
Nadia Cheung 