By The Editors
Volume 2, Issue 2

“Johnson’s use of prismatic color also brings to mind the physics of white light. To the camera and naked eye, white light is essentially colorless, but with paint and dye, Johnson carefully breaks down white light into its disparate parts or the individual color wavelengths that make up the visible spectrum of light. Considering how woodland creatures may perceive the forest in totally different fields of color, Johnson’s photographs seem to direct us away from typically anthropocentric perceptions of the natural world.”

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Sarah Anne Johnson

Border Crossings
By Benjamin Klein
Volume 40, Issue 156

“In the gallery space, the works in the show generate an encompassing physically felt sensation—of being in the landscape and of having the invisible-made-seen. The primal quality of the scenery permeates our senses. The space of the images seems to quiver and tesselate, and implies the presence of a greater than three-dimensional spatial fabric, invoking various notions from particle physics and non-Euclidian geometry to Theosophy and New Age spirituality (in a fully knowing, open-minded way).”

Sarah Anne Johnson Takes Us on a ‘Trip’ to Utopian Woodlands

By Joseph R. Wolin
December 23, 2020

“Sarah Anne Johnson comes honestly by her love of the natural world and the communitarian alternative lifestyles it inspires. Her 2020 series of photos, titled ‘Woodland’, featured in her latest outing at Yossi Milo Gallery, pictures Manitoba forests. Most of the images portray dense stands of scrubby trees, their ordinariness countered by bright colours filling interstices between the twigs and branches. The effect conjures stained glass or, at times, fluttering Tibetan prayer flags. Created with a range of means – from Photoshop to applied oil and acrylic paint, photo-retouching ink, metallic leaf and collaged holographic foil – the artist’s manipulations appear various and inventive as they evoke the kitsch of children’s craft projects.”

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