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Dion JohnsonSweetness2022
2022
About the Item
b. 1975, Bellaire, OH
Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color fields are juxtaposed to and interwoven with planes of precise hardedge abstraction. These color fades are both intimate and vast – they may reflect internal moods with wandering thoughts and insightful realizations, or they may suggest vivid sunsets on Mercury or Mars with chemical skies and radiant perspectives. The hardedge shapes seem to reach up and stretch down; their elongated curves, interlocking contours, and bold colors allude to kinetic sensations and evolving environments.
Johnson attended Yale Norfolk Summer School of Music and Art, received his BFA from the Ohio State University and MFA from Claremont Graduate University in Claremont, CA. His work has been reviewed and featured in articles in The New York Times, The Los Angeles Times, ART News, Art Forum, and others. His work is in public collections such as The Columbus Museum of Art, Columbus, OH; Twitter Inc., Santa Monica, CA; The Capital Group Companies, Los Angeles, CA; Creative Artists Agency, CA; Pizutti Collection Columbus, OH; and many more.
- Creator:Dion Johnson (1975, American)
- Creation Year:2022
- Dimensions:Height: 72 in (182.88 cm)Width: 96 in (243.84 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Phoenix, AZ
- Reference Number:Seller: 20230210211stDibs: LU13712986242
Dion Johnson
Jan Maarten Voskuil stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the circle, the square, and the rectangle. He stretches the frames with linen and usually paints them in monochrome colors. With a minimum of means, he manages to develop a broad spectrum with his work whereby he partly stands in the tradition of the constructive, minimal, and concrete art of the twentieth century. His work is labeled as spatial object, sculpture, autonomous design or even architecture. He himself consistently continues to call the work painting because his frame of reference is painting. Spatial or not, “It remains paint on canvas, and deals with the limitations of the flat surface,” he argues. “Conversely, you would call Carl Andre’s work sculpture even though it’s mostly flat, wouldn’t you?” Still, there is something to be said for seeing in Voskuil not just a painter. Over the years, his ingenious stretchers have become primarily modular constructions, which can sometimes be assembled in various ways. This makes him not only a painter but also a “builder” of paintings, which brings him very close to architecture. In his latest series of works the exploration of space is accompanied by the (re)introduction of emptiness into the painting. The modules are no longer connected to each other. Although this disintegration already made its appearance in the series Dynamic Monochromes, from 2012 onwards, in the form of indentations between the modules, this in-between space is now much more thematized.
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