There’s an artistic renaissance afoot at the Vans US Open of Surfing this year, and the ever-colorful Chris Johanson is building something awesomely weird right there on the sand. If you’ve paid any attention to the worlds of skateboarding or art over the past few decades, chances are Johanson’s work has struck you with its colorful and humorous tongue-in-cheek impressionism, which has graced the bottom of skateboards and the walls of prestigious galleries alike.
Mitchell-Innes & Nash recently debuted a new exhibit in Chelsea, Manhattan, on view from April 6 – May 13, 2017. Chris Johanson: Possibilities showcases new paintings and works on paper that invite you to physically interact with the art.
Possibilities, Johanson’s second solo exhibition at Mitchell-Innes & Nash introduces his whimsical and easy-going West Coast style that has become associated with Mission Art School. Cartoonish drawings, symbols from pop culture, and figures that morph into abstraction appear in bright, sunny colors often times accompanied by text. The artist, who went into the radar of New York art scene with his participation in the 2002 Whitney Biennial, uses different found material he finds on the street, paying homage to his early days as a street artist.
Chris Johanson: Possibilities is an exhibition of new paintings and works on paper on view in an immersive installation at the Mitchell-Innes & Nash’s Chelsea space. Johanson’s work engages with the meditative qualities of art-making and the sincere direct communication through painting and sculpture.
Compromising paintings and one large installation, Chris Johanson's second solo exhibition at this gallery was equal parts cryptic and clear-cut, lighthearted and sarcastic, comic and tragic. Most of the artist's new works employ a Crayola palette and are composed of wood he gathered from Brooklyn Dumpsters and discarded art-shipping crates.
What does a painting have to apologize for? No answers but contrition aplenty, were at hand in Chris Johanson's installation "Totalities," which presented some three dozen acrylic-on-wood paintings, mounted on rough wooden supports and standing penitently in a circle around a slowly rotating, gray-painted plywood icon.