“(—)” (hyphen),
Ashleigh Harris Johns
November 28 - December 4, 2021
Statement:
My work is based on time and place, capturing very specific moments and extending them into experiences that deny language. The ocean, fog, and light are inspirations for my work, with light being of the utmost importance.
While my work as a whole is conceptually similar, each installation and piece is subtly unique. My exhibition, “(—)“ (hyphen), connects the aural and visual aspect of sound, place, and time through the use of “Sound Drawings.” With the use of various materials in my Sound Drawings, I create a phenomenological environment for visitors. I use the word “visitors” versus “viewers”, as my pieces are spaces that one steps into, experiences, processes, and reflects upon.
While my installations contain personal specificity, their ambiguity allows for wide accessibility. I always make seating available in my installations, as an invitation for visitors to stay and sit with the piece, allowing for contemplation and introspection.
Ashleigh Harris Johns
November 28 - December 4, 2021
Statement:
My work is based on time and place, capturing very specific moments and extending them into experiences that deny language. The ocean, fog, and light are inspirations for my work, with light being of the utmost importance.
While my work as a whole is conceptually similar, each installation and piece is subtly unique. My exhibition, “(—)“ (hyphen), connects the aural and visual aspect of sound, place, and time through the use of “Sound Drawings.” With the use of various materials in my Sound Drawings, I create a phenomenological environment for visitors. I use the word “visitors” versus “viewers”, as my pieces are spaces that one steps into, experiences, processes, and reflects upon.
While my installations contain personal specificity, their ambiguity allows for wide accessibility. I always make seating available in my installations, as an invitation for visitors to stay and sit with the piece, allowing for contemplation and introspection.
