Rindon Johnson
Beyond the pines, pines, pines, pines, pines, hard mountain, enduring, except all the conventions conspire NOTHING BY MOUTH! Transmission: desire labyrinth, do I turn on my vpn to watch american television for the drug commercials, extreme effort in their function, heads bent forward, forearms lifted, confectionery, ineffectively, connectivity, be specific what kind of pain do you like. Do you like any kind of pain. Shape this with your eyes. Somebody once asked me if I could spare some change for gas, I need to get out of this place and I thought I could use some gas myself. Reassuring thud, Reassuring thud, 2023
Brick
Dimensions variable
Edition of 3
Copyright The Artist
Photo: Marjorie Brunet Plaza
“Beyond the pines, pines, pines, pines, pines […]” (2023) ist eine aus gebrauchten Ziegelsteinen gestapelte Mauer, die sich wie eine Welle durch den Raum zieht. Johnson bezieht sich dabei sowohl...
“Beyond the pines, pines, pines, pines, pines […]” (2023) ist eine aus gebrauchten Ziegelsteinen gestapelte Mauer, die sich wie eine Welle durch den Raum zieht. Johnson bezieht sich dabei sowohl auf Sol Lewitts Mauern im „Hoffman Garden“ in Dallas als auch auf die in Großbritannien verbreitete Form der „crinkle crankle walls“. Während Lewitt diese Form wählte, um den Wurzeln der Eichen im Garten zu folgen, wurden die Mauern ursprünglich verwendet, da sie aufgrund ihrer serpentinenartigen Struktur weniger Ziegel benötigen. Johnson löst die Architektur als rein abschirmendes Element auf, das Innen und Außen definiert und interessiert sich für die Möglichkeit die Form zu nutzen, um Fragen nach Zugehörigkeit und Abgrenzung zu stellen. Mauern können Assoziationen zu Themen wie Migration und Überwachung wecken, aber sie können auch einfach ein hier und dort markieren. Johnson reflektiert über die Auswirkungen der Raumgestaltung auf unser Empfinden und Verhalten und fragt, wie wir uns in diese größeren Strukturen einfügen und uns darin wiederfinden. Der Künstler verwendet diese Form in Innenräumen sowohl als Werkzeug als auch als Provokation: Grenzen sind für ihn sowohl künstlich als auch von Natur aus zerbrechlich.“Buildings become containers of our ideas, outlines of our reflections—I am interested in experimenting with that experience both in physical and virtual spaces.”
"Beyond the pines, pines, pines, pines [...]" (2023) is a wall stacked from used bricks that extends through the space like a wave. Johnson is referring both to Sol Lewitt’s walls in the “Hoffman Garden” in Dallas and to the vernacular of crinkle crankle walls in the UK. While Lewitt pursued this form to follow the roots of the oak trees in the garden, the walls were originally used because they required less bricks due to their serpentine structure. Dissolving architecture as a purely screening element that defines an inside and an outside, Johnson was interested in these parallel forms and the possibility that he might take them to continue his questioning of belonging and demarcation. These walls sometimes evoke associations with themes such as migration and surveillance but they also might simply mark, over here and over there. Johnson reflects on the effects of spatial design on how we feel and behave, questioning how we fit into and find ourselves within these larger structures. Johnson pulls this form indoors as both a tool and a taunt; boundaries to the artist are both artificial and inherently fragile. "Buildings become containers of our ideas, outlines of our reflections-I am interested in experimenting with that experience both in physical and virtual spaces."
"Beyond the pines, pines, pines, pines [...]" (2023) is a wall stacked from used bricks that extends through the space like a wave. Johnson is referring both to Sol Lewitt’s walls in the “Hoffman Garden” in Dallas and to the vernacular of crinkle crankle walls in the UK. While Lewitt pursued this form to follow the roots of the oak trees in the garden, the walls were originally used because they required less bricks due to their serpentine structure. Dissolving architecture as a purely screening element that defines an inside and an outside, Johnson was interested in these parallel forms and the possibility that he might take them to continue his questioning of belonging and demarcation. These walls sometimes evoke associations with themes such as migration and surveillance but they also might simply mark, over here and over there. Johnson reflects on the effects of spatial design on how we feel and behave, questioning how we fit into and find ourselves within these larger structures. Johnson pulls this form indoors as both a tool and a taunt; boundaries to the artist are both artificial and inherently fragile. "Buildings become containers of our ideas, outlines of our reflections-I am interested in experimenting with that experience both in physical and virtual spaces."