![]() Everywhere we go we see.to the biennials and triennials across the world, you see big Kusama installations. They are on the face of the London tube map at the moment. Her spots are ubiquitous, and they are instantly recognisable. I think Kusama is now seen alongside people like Murakami or Damien Hirst, or Jeff Koons as a kind of globally branded artist. And the interesting thing about this work in particular is that where she’s moved from creating an environment of spots that we passively appreciate or enjoy a walk through, she has now moved on to actually involving the audience in the creation of this dotted, spotted interior. It’s a reflection of her vision, but it’s also a way of embracing the whole world in a kind of overall pattern. It’s her way of kind of covering the surface. And from that period of time, she comes back to the spot with great regularity, and by the end of the sixties, she is actually painting a landscape, she’s painting spots on people’s bodies, onto animals, and the spot becomes a very regular motif throughout her work. And in her very, very first mature works of art, just after finishing art school in Kyoto, the spot emerges as a pattern in her work. And in her biography, she talks about experiences really of a very young child, almost sort of hallucinogenic experiences, where her vision of landscape and people was clouded by spots. Kusama is best known for her brilliantly coloured dotted surfaces, her installations with blow-ups and her walls covered in brilliant spots. And then everybody is invited to place the stickers anywhere they like in the room, according to any pattern, any idea they have, anything they like they can do with the stickers. People come in, they are given a sheet of coloured stickers in different sizes, which have been produced specially for the project and in accordance with the artist’s specifications her choice of colour, her choice of finish, and her choice of size. The installation acted as an exploration of relationship between form, matter and space while displaying her dedication and passion towards accomplishing her vision through her work in the last six decades.At the start of the project, this room was completely white – white ceiling, white floor, white walls, white furniture. This ‘obliteration’ on the otherwise untainted house gradually transforms the space into something totally unique and recorded using time-lapsed photography. The visitors to the installations were provided with bright colored stickers and then were told to paste it wherever they wished. Polka-dots become movement … Polka dots are a way to infinity.” Round, soft, colorful, senseless and unknowing. ![]() This white color acted as a canvas which could be ‘obliterated’ and displayed most vividly.Īccording to Yayoi, “a polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. ![]() The house contained typical household furniture and local ornamentation all painted in white color along with the walls, roof and floor. An exhibition of her works was held in New York during which The Obliteration Room, an installation commissioned by Queensland Art Gallery’s ‘APT 2002: Asia Pacific Triennal of Contemporary Art’ was displayed.Ī traditional, prefabricated American suburban house was used as a setting for the installation. Her work has been an inspiration for numerous contemporary artists. ![]() Yayoi Kusama is a famous Japanese artist and writer known for her works in various fields like paintings, environmental installations, collage, pop art and sculptures. ![]()
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