Mariane Ibrahim is pleased to present Escaping the tyranny of meaning, a solo exhibition of new work by Leasho Johnson, on view from August 30 until October 26, 2024. This exhibition marks the artist’s first show with the gallery.
In reflection of the rich sociologies of Jamaica, the centrality of mythology in Leasho Johnson’s work acknowledges the Caribbean and diasporic heritage to solidify history through folklore and imagination. Johnson’s practice situates imagination as an incubator for uninhibited connection and self-expression. Navigating the complexities of dark, abstract realms, his practice reveals sudden bursts of figuration, where creatures of presence emerge with striking clarity. By blending and experimenting with drawing and painting techniques, Johnson creates lush, vivid images brimming with sensual intensity.
Escaping the tyranny of meaning introduces a new body of work inspired by Anansi, the shapeshifting, clever character of West African folklore. Traditionally, Anansi is a spider used to explore moral tales from everyday dilemmas to irresolvable ethical conundrums. By invoking an abstracted form of Anansi, Johnson embraces anthropomorphism to underscore the importance of maintaining freedom within spaces of ambiguity and complexity. In the legacy of Francis Bacon and Willem de Kooning, Johnson activates the visceral effects of the macabre to engage diasporic conversations on colonialism, visibility, and folklore as he liberates his figures from the constraints of direct representation or definition.
Utilizing fugitivity as a framework, Leasho’s abstractions resist historical, political, and biological limitations placed upon Black queer existence. Fugitivity delineates a confrontation between hegemonic histories and emergent futurities. This tension between Black queer futurities and histories of oppression manifests on Leasho’s canvas, where his broad chromatic palette agitates and resists concealment in the presence of black pigment.
In response to Jamaica’s exploitation as a colonial source of raw materials, Johnson remains particularly attuned to the origins and implications of his material sources. Cultivating an intimate relationship with his material, he meticulously builds his pigments-- specifically distemper, using rabbit skin glue, fabric dye and raw pigments. These unique pigments create a striking depth, where velvety black shapes are contrasted by flashes of gold in a dynamic interplay with visibility.
Through his interpolation of Anansi, Escaping the tyranny of meaning highlights the enduring relevance of Caribbean magic and mysticism in contemporary discourse. By embracing mythology as history, Johnson invites audiences into a realm where the boundaries of abstraction are continually redefined, reflecting his unique exploration of folklore and imagination.