





Today I am interviewing Dots Obsession, a piece by Yayoi Kusama, an artist renowned for her use of recurring patterns and environmental experimentations. The work consists of a bright yellow room, covered in black polka dots, containing a number of large vinyl balloons in the same pattern. I enter the Wellington Art Gallery with some measure of trepidation. After all, how does one interview an inflatable vinyl environment? Will I stand on its face when I enter the room? Where do I look?
Marrow: ... hello?
Dots Obsession: [a booming sound gradually starts to fill up the space] ... Hello.
M: I’m sorry, did I wake you?
DO: Yes. But no matter. Please sit.
M: What can you tell me about yourself?
DO: Polka-dots is where it all started, I am one of the many products of Yayoi’s obsession with her visions.
M: Many say you remind them of their childhood, the imagination of that time. Is this your experience?
DO: Oh yes. This bright yellow and bold pattern are evocative of children’s playthings, clothing and so on. The fact that I comprise an entire environment in this pattern also transports the viewer in an imaginative and playful way. For children the experience is doubly magnified. But everyone is a child really. We do not grow up but only learn how to act more appropriately in public. Yayoi did not want me to be about politics or money, an ‘art as hard as diamonds’, as she would say.
M: I understand Kusama rejected all labels, yet her work still fits within many 20th-century movements such as Surrealism, Pop Art, Abstract Expressionism , and Minimalism. What is your take on this?
DO: I am a manifestation of Yayoi’s sub-conscious. Her brain contains many aberrations as a result of childhood abuse and the social context of World War Two and its lingering effects in Japan. It has produced beautiful and surreal results. The ultimate result is intensely personal and distinguishable from other work.
M: Can you give me an example?
DO: Aggregation: One Thousand Boats Show. A boat covered in protruding stuffed phalli sits in the middle of a room, the walls covered in posters featuring the same boat. This was a counterpoint to Andy Warhol’s Cow Wallpaper. An assertion of the real over the fake, the original over the facsimile. Her earlier work had a distinctly handmade feel, an imperfection distinguishable from the systematic and mechanical productions of Minimalism and Nouvelle Tendence. This has changed with time. I am not handmade. But it is pedantic to focus on categorisations rather than visceral sensations. To which approach did you lean in entering me?
M: You make a relevant point. But given her success, can it really be said she was that mad?
DO: What is madness? Living on the edge of existence? Oh, yes. But she was clever.
M: How so?
DO: She understood the machinations of the human mind. Our desire to be obliterated. Our compulsion to stereotype.
M: Can you give me an example?
DO: Wearing a witch’s hat and sorcerer’s robes in my pattern in her older age. The photo of her lying naked on her stuffed phalli couch in her twenties. She acknowledges stereotypes at the same time as using them to her advantage, thus manipulating our entire system of categorisation.
M: What do you think of Kusama’s stuffed phalli Accumulations?
DO: A reaction to a male-dominated art world. Phalli taking over stereotypically female articles, phalli dominating all. In Yayoi’s repetition she can make banal and ordinary what was once sacred.
M: You mention Kusama a lot, how do you feel about her?
DO: I am Yayoi destroyed and reincarnated. It is not a question of emotion but of being. I accept my nature as an extension of her madness and do not feel anything in regards to this fact.
M: How then does her work relate to the viewer?
DO: I can feel that you want to intellectualise this experience but you must try to forget yourself. Forget the personality you have constructed for yourself, lose yourself in me. The human tendency is to normalise the experience of living. It becomes mundane and everyday, task after task - this is the only way most people can see to cope with the absurdity of existence. In her madness Yayoi understood something of this and I am this realisation - a conception of infinity, eternal time, absolute space, but connected like these polka-dots. We are all mad here. It is simply that most people will do anything to avoid this fact, rather than face self-obliteration.
M: What do you mean by self-obliteration?
DO: Fully accepting and experiencing the truth that we know nothing. Where did we come from? Why? What for? The fact that the earth is just one polka-dot in an infinite space of polka-dots. The fact that we will ultimately die. Even I will deteriorate into nothingness. It is a terrifying realisation. But we also come to better appreciate the mystery that is life and to understand freedom and adventure, daring to do something, to speak, to dance, to talk to each other, to be naked like the performers in Yayoi’s Naked Happenings. It is liberation.
M: Damien Hirst interviewed Kusama in 1998 (coincidentally we’ve also interviewed his The Physical Impossibility of Death in the Mind of Someone Living who also discussed death and related issues). You talk of liberation but in that interview it seemed as though she wasn’t very happy in her old age. Quite lonely in fact.
DO: It is true. Yayoi was always an outsider. But like she says, loneliness is a matter of perspective and cured with the passage of time. But I never said this wasn’t complex.
With that our time is up. I thank Dots Obsession and leave feeling an affinity with this strange work. It’s hard to know how to exist, what moral choices to make. But speaking with Dots Obsession, I feel a beautiful perspective. I hope I can remember that.
Interview by Kari Schmidt
Are human rights a fiction of modern, western liberal democracies that bring us no closer to a shared ethical framework?
Human rights, especially human rights abuses, are often talked about in western media. The term itself can mean different things to different people. This essay will seek to argue that human rights are a fiction of modern, western liberal democracies and that it is in our best interests to not come to a shared ethical framework, even if this were possible. It will also prove that human rights are detrimental to cultural diversity and that their foundations are deeply infused with Christian undertones, making them unappealing, imperialistic and alien to many peoples and cultures. This essay will first cover and critique the Liberal doctrine of John Locke, then assess the significance Christianity has played on the emergence and evolution of human rights. The latter part of this essay will assess contemporary and historical issues to enforce the thesis statement, from diverse areas such as; the United Nations Declaration of Human Rights, US foreign policy in regards to the Armenian Genocide and the evolution of Buddhism and eventual emergence of Zen Buddhism in China.
John Locke is credited with being one of the founding fathers of Liberalism, through this he was also an instrumental character in the formation of human rights and the fiction thereof. An avid admirer of Euclid and his axioms, Locke attempted to establish his own in regards to political philosophy, coming to the self-evident axiom “Where there is no property, there is no injustice”.[1] Locke believed that injustices stemmed from individuals in the State of Nature and in subsequent political communities encroaching on another’s property rights. For him, a right to property, along with life, liberty and the pursuit of happiness were to be seen as being intrinsic, inalienable rights of every individual.[2] Locke’s emphasis on the rights of the individual was instrumental in founding the modern fiction of western human rights. However, Locke’s philosophy was drastically influenced by the current political and social climate at the time. During the time that Locke wrote his works of political philosophy, there was a mass emigration of people out of Europe heading towards the New World.[3] Critics of Locke argue that his philosophy of life, liberty and the pursuit of happiness extended only to men of European extraction and that Locke would not have dreamed of the same liberties being given to women and blacks. Furthermore, it is argued that Locke believed that his theory of property rights extended to include slaves held in bondage.[4] Locke, therefore, though traditionally held to be a revolutionary force against the monarchs of the Old World, could be viewed as leading a populist movement – his target audience being comprised of industrious white men with high ambitions of becoming successful upon making it to the New World. Such a claim is not without merit, as Locke, amongst other theorists can be linked to the intellectual background to the United States Declaration of Independence.






