Yayoi Kusama, Japan b.1929 / Infinity nets 2000 / Synthetic polymer paint on canvas / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. The choice of a domestic environment with specifically local characteristics is intended to create an air of familiarity that makes participants, especially children, comfortable enough to engage with the work with little or no prompting. While this may suggest an everyday topography drained of all colour and specificity, it also functions as a blank canvas to be invigorated - or, in Kusama’s vocabulary, ‘obliterated’ - through the application to every available surface of brightly coloured stickers in the shape of dots. The obliteration room consists of a domestic environment recreated in the gallery space, complete with locally sourced furniture and ornamentation, all of which are painted completely white.
Reworked and enlarged in 2011 for the Gallery’s ‘Yayoi Kusama: Look Now, See Forever’ exhibition at GOMA, the work became a social media phenomenon when images of the progressive installation were uploaded to a popular visual culture blog.
The obliteration room 2002–present sponsored by Santos GLNG and supported by Ikea Logan is an interactive work initially developed by senior Japanese artist Yayoi Kusama in collaboration with the Queensland Art Gallery as a children’s project for ‘APT2002: Asia Pacific Triennial of Contemporary Art’. Here, we unpack the meaning behind the Kusama’s dots. Renowned Japanese artist Yayoi Kusama’s The obliteration room returns to the Gallery after touring to locations in South America, Asia and Europe. Yayoi Kusama, Japan b.1929 / The obliteration room (installation views) 2002 to present / Furniture, white paint, dot stickers / Collaboration between Yayoi Kusama and Queensland Art Gallery, commissioned by the Queensland Art Gallery / Gift of the artist through the Queensland Art Gallery Foundation 2012 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Yayoi Kusama / Courtesy: Yayoi Kusama Studio, Inc.
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