Sculptures

     Yayoi Kusama started her practice into sculpture art during her stay in New York in 1961, where she befriended Donald Judd, one of Kusama's close and supportive colleague in her artistic career. She began fabricating 3-dimensional objects covered with repetitive patterns. She used objects from everyday life and covered them with proliferation of sewn, stuffed fabric phalli.Through her hands these furniture began to obtain  a surreal quality, suggesting dreamlike world in which an internal obsession is projected into physical form.

      Yayoi Kusama first exhibited her sculpture work at the Green Gallery in New York in Jun 2 1962, one of the first exhibitions of burgeoning American pop art movement. She is among the group of young artists including Warhol, Oldenburg, Judd and Robert Morris who made famous from gallery shows. Yayoi Kusama was the only Asian "Outsider".

Yayoi Kusama's shoe sculptures, which also turns into a series.

     One of her most memorable piece from Yayoi Kusama's early sculpture art is probably the "Aggregation: One Thousand Boats Show" at Gertrude Stein Gallery in New York. The boat was scavenged by Kusama and Judd from the street. The boat was installed in a room where the walls and ceiling are covered with 999 black and white posters of the same boat scene.

     In 1965 Yayoi Kusama released her most ambitious gallery presentation - "Floor Show" at Castellane Gallery. She presented large numbers of phallus-encrusted works in which included "Infinity Mirror Room-Phalli's Field", a room size installation with mirrored walls and ceiling that appeared to reflect sea of red on white polka-dotted phallic protrusions covering the floor. 

Yayoi Kusama refers to her phallus-covered works as the "Sex Obsession" series. The phalli represents her fear of sex, she was trying to lose herself in the act of art making to neutralize her neurotic anxiety of male sex organ.