Ryan Johnson shows new work in New York this month, with figural pieces full of motion and unease.
Walk through the white doors of the Suzanne Geiss Company this month, and you’ll find a foyer empty in the familiar way SoHo galleries tend to be. But pass over the threshold and into the main space, and you’ll find it difficult to turn a corner without fear of knocking into one of the unwieldy sculptures of Ryan Johnson, the Karachi-born, Brooklyn-based sculptor whose work is on view at Geiss until December.
The contrast between empty and crowded seems to be intentional--if not, it’s a happy accident. Johnson’s show, entitled Self Storage, meditates on the messiness of life in transition, whether between independence and family or childhood and adulthood. The sculptures are large, some well above 13 feet tall, and more figurative than Johnson’s past work. The Perfectionist shows a Giacometti-esque figure attempting to balance a pyramid of oranges on his or her skull while strapped with heavy stone-like “baggage.” In Bicycle, two abstracted figures squeeze onto a bike with six wheels, mimicking motion.
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DIGITAL JUICE
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