George Bush

Description: Artist's Statement
Bambino Miracolo and Annunciation were site specific paintings for the Canadian Cultural Centre in Rome, 1993. The time frame of the exhibition coincided with the deployment of UN troops to Somalia and Bosnia. The reason for making these paintings was to bear witness to the daily genocide for an international audience in a Canadian diplomatic venue. This painting is predominantly blue, the colour of the spirit and the mind. Central to it is an infant heart transplant; humanity on life support. The angel is the mediary of unknown external forces and our destiny to balance life and death. Disembodied hands of science and god circle the infant in a late 20th century remake of the creation myth.

Des mesures : 299.974 x 400.05 cm

Collection:

Date de réalisation : 1993

Matériaux : oil on linen

Collection virtuelle : Original CCCA

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Annunciation

Artist: Rae Johnson

ID : 923

Description: Artist's Statement
Bambino Miracolo and Annunciation were site specific paintings for the Canadian Cultural Centre in Rome, 1993. The time frame of the exhibition coincided with the deployment of UN troops to Somalia and Bosnia. The reason for making these paintings was to bear witness to the daily genocide for an international audience in a Canadian diplomatic venue. This painting is a visual prayer for Bosnia. It is predominantly red, the colour of blood and fecundity, representing the Earth. The Annunciation is a promise of the new -- a step toward the spiritual evolution of humanity. Central to it is the newborn "Benetton" baby surrounded by angel-soldiers. Above is a night sky containing the hands of the Feminine resting on red clothing/membrane concealing the angel of death.

Des mesures : 299.974 x 400.05 cm

Collection:

Date de réalisation : 1993

Matériaux : oil on linen

Collection virtuelle : Original CCCA

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Annunciation (study)

Artist: Rae Johnson

ID : 922

Description:

Des mesures : 249.936 x 150.114 cm

Collection:

Date de réalisation : 1993

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Madonna of the Goldfinch/Baby

Artist: Rae Johnson

ID : 924

Description:

Des mesures : 182.88 x 213.36 cm

Collection:

Date de réalisation : 1994

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Death / Baby

Artist: Rae Johnson

ID : 939

Description:

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 1994

Matériaux : acrylic on paper

Collection virtuelle : Original CCCA

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Interior/Red Chair

Artist: Rae Johnson

ID : 933

Description:

Des mesures : 213.36 x 243.84 cm

Collection:

Date de réalisation : 1994

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Interior with Skull Mask

Artist: Rae Johnson

ID : 938

Description:

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 1994

Matériaux : acrylic on paper

Collection virtuelle : Original CCCA

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Windy Day, Flesherton Pond

Artist: Rae Johnson

ID : 950

Description:

Des mesures : 182.88 x 213.36 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Three Fates (detail)

Artist: Rae Johnson

ID : 1177

Description:

Des mesures :

Collection:

Date de réalisation : 1995

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Bright Day, Beaver Dam, Algoma

Artist: Rae Johnson

ID : 947

Description: Artist's Statement
The Algoma Paintings These paintings were developed from oil sketches made on site in Algoma in the fall of 1994. Each is a careful study of the day, paintings of drowned land in a primordial northern Ontario forest. Isolated trees call to each other from across a bottomless black swamp.

Des mesures : 182.88 x 121.92 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Dark Day, Beaver Dam, Algoma

Artist: Rae Johnson

ID : 946

Description: Artist's Statement
The Algoma Paintings These paintings were developed from oil sketches made on site in Algoma in the fall of 1994. Each is a careful study of the day, paintings of drowned land in a primordial northern Ontario forest. Isolated trees call to each other from across a bottomless black swamp.

Des mesures : 182.88 x 121.92 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Toronto Studio

Artist: Rae Johnson

ID : 932

Description:

Des mesures : 121.92 x 182.88 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on wood panel

Collection virtuelle : Original CCCA

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Sun Dog, Beaver Dam, Algoma

Artist: Rae Johnson

ID : 945

Description: Artist's Statement
The Algoma Paintings These paintings were developed from oil sketches made on site in Algoma in the fall of 1994. Each is a careful study of the day, paintings of drowned land in a primordial northern Ontario forest. Isolated trees call to each other from across a bottomless black swamp.

Des mesures : 182.88 x 121.92 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Study for Civil War Chair

Artist: Rae Johnson

ID : 935

Description:

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 1995

Matériaux : acrylic on paper

Collection virtuelle : Original CCCA

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Swamp Flowers, Flesherton Pond

Artist: Rae Johnson

ID : 951

Description:

Des mesures : 182.88 x 213.36 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Fallen Birch, Algoma

Artist: Rae Johnson

ID : 948

Description: Artist's Statement
The Algoma Paintings These paintings were developed from oil sketches made on site in Algoma in the fall of 1994. Each is a careful study of the day, paintings of drowned land in a primordial northern Ontario forest. Isolated trees call to each other from across a bottomless black swamp.

Des mesures : 182.88 x 121.92 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Three Fates

Artist: Rae Johnson

ID : 927

Description:

Des mesures : 213.36 x 243.84 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Reflections / Stumps

Artist: Rae Johnson

ID : 949

Description:

Des mesures : 182.88 x 213.36 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on birch

Collection virtuelle : Original CCCA

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Interior/Civil War Chair

Artist: Rae Johnson

ID : 934

Description:

Des mesures : 213.36 x 243.84 cm

Collection:

Date de réalisation : 1995

Matériaux : oil on wood panel

Collection virtuelle : Original CCCA

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Cat / Yellow

Artist: Rae Johnson

ID : 51378

Description:

Des mesures : 45.72 x 30.48 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Cat / Orange

Artist: Rae Johnson

ID : 51388

Description:

Des mesures : 45.72 x 30.48 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Yellow Eyes

Artist: Rae Johnson

ID : 51389

Description:

Des mesures : 40.64 x 30.48 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Study for Firebird

Artist: Rae Johnson

ID : 51395

Description:

Des mesures : 60.96 x 60.96 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Girl and Her Cat

Artist: Rae Johnson

ID : 51380

Description:

Des mesures : 172.72 x 121.92 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Remembering You

Artist: Rae Johnson

ID : 51379

Description:

Des mesures : 121.92 x 121.92 cm/po

Collection:

Date de réalisation : 1997

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Joslyn II with Cat

Artist: Rae Johnson

ID : 51382

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures : 170.18 x 124.46 cm/po

Collection:

Date de réalisation : 1998

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Installation at Lonsdale Gallery, Toronto

Artist: Rae Johnson

ID : 51390

Description:

Des mesures :

Collection:

Date de réalisation : 1998

Matériaux :

Collection virtuelle : Original CCCA

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Firebird, Lake Winnipeg

Artist: Rae Johnson

ID : 51393

Description:

Des mesures : 213.36 x 182.88 cm/po

Collection:

Date de réalisation : 1998

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Streamers

Artist: Rae Johnson

ID : 51391

Description:

Des mesures : 182.88 x 213.36 cm/po

Collection:

Date de réalisation : 1998

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Storm Front, Winnipeg, Manitoba

Artist: Rae Johnson

ID : 51392

Description:

Des mesures : 213.36 x 182.88 cm/po

Collection:

Date de réalisation : 1998

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Hexagonal table

Artist: Rae Johnson

ID : 51381

Description:

Des mesures : 121.92 x 121.92 cm/po

Collection:

Date de réalisation : 1998

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Installation at Lonsdale Gallery, Toronto

Artist: Rae Johnson

ID : 51394

Description:

Des mesures :

Collection:

Date de réalisation : 1998

Matériaux :

Collection virtuelle : Original CCCA

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Joslyn IV Dream Girl

Artist: Rae Johnson

ID : 51383

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures : 177.8 x 127 cm/po

Collection:

Date de réalisation : 1999

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Joslyn III with Broken Flower

Artist: Rae Johnson

ID : 51385

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures : 177.8 x 124.46 cm/po

Collection:

Date de réalisation : 1999

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Study for Dream Girl

Artist: Rae Johnson

ID : 51387

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures :

Collection:

Date de réalisation : 1999

Matériaux : oil on panel

Collection virtuelle : Original CCCA

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Joslyn IV with Geranium

Artist: Rae Johnson

ID : 51386

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures : 157.48 x 124.46 cm/po

Collection:

Date de réalisation : 1999

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Joslyn I with New Guinea Head

Artist: Rae Johnson

ID : 51384

Description: Dream Girl - 1999
The dream girl paintings began with photo sessions using a digital camera to record my daughter Joslyn sitting inside of a "still-life" of objects - curtains, glass tables, flowers, sculpture. As she sat quietly, her face would subtly transform, her inner thoughts floating across her features like shadows. When I saw a "moment" that I recognized I would record it, then draw it and paint it on canvas.

In this group of paintings, the digital photograph served as a preliminary drawing. I used a grid to map the digital image onto canvas. Then I used graphite to block in the image replicating the exact proportions of the digital still. An interesting perceptual tension arose. The surface is explicitly sensual with the stroking and smudging of a soft drawing graphite caught within the rigid outlines of the camera. The eye subliminally recognizes the proportions of a machine-seen "real" image - the digital photograph - yet the rendering is low-tech, tactile, hand-made "unreal".

Des mesures : 119.38 x 88.9 cm/po

Collection:

Date de réalisation : 1999

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51400

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51398

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51401

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51396

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51399

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Dreamgirl Exhibition, [installation view, Art Gallery of Peterborough]

Artist: Rae Johnson

ID : 51397

Description:

Des mesures :

Collection:

Date de réalisation : 2000

Matériaux :

Collection virtuelle : Original CCCA

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Shaking Plane

Artist: Rae Johnson

ID : 51407

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 93.98 x 121.92 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Disappearing Plane

Artist: Rae Johnson

ID : 51405

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 152.4 x 121.92 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Falling Plane

Artist: Rae Johnson

ID : 51404

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 160.02 x 121.92 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Fading Plane

Artist: Rae Johnson

ID : 51406

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 121.92 x 93.98 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Point / Plane

Artist: Rae Johnson

ID : 51402

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 68.58 x 121.92 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Point / Plane, [horizontal]

Artist: Rae Johnson

ID : 51403

Description: The Ghost Plane Paintings 2001 - 2002.
In the first weeks after September 11th, I could not continue in the studio, business as usual. The events of 9-11, were of mythic proportions, a horrific expression of the collision of opposing world views. Ethically, I could not ignore the historic impact of the event. At the same time, I did not want to indulge in the jingoistic sensationalist frenzy playing out in the media. Who's Armegeddon is it anyway?

I was compelled to make these paintings after September 11th. I was fascinated by the image of United Airlines Flight 175 caught on video seconds before it vaporized into its target - captured in time - living on in endless spectacular replays in the news. I contemplated how the event continues to exist as a horrific afterimage in the collective memory - replaying over and over again in the media and in the dimension of thought.

The ghost plane is the central image in all of the paintings in this series. These oil and wax paintings, are visceral descriptions of Flight 175 as I conceptualize it, trapped within the space time continuum, like a prehistoric fly suspended in amber. I have painted and over-painted the image of the plane until it started to resonate from the materiality of the black paint itself. Eventually a platonic idea of the plane became embedded in the paint - an accumulation of hundreds of layers of painted planes, emerging visually out of a black nothing, shifting and shaking into discernable forms. These paintings function as mnemonic snap shots. They are slow to see and become clearer the longer they are looked at.

Des mesures : 81.28 x 121.92 cm/po

Collection:

Date de réalisation : 2001

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Monkey Man

Artist: Rae Johnson

ID : 51410

Description:

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Monkey Man, [installation view, Fly Gallery, Toronto]

Artist: Rae Johnson

ID : 51411

Description:

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux :

Collection virtuelle : Original CCCA

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The moment-9-11/ ghost plane / angel of death

Artist: Rae Johnson

ID : 51408

Description:

Des mesures : 203.2 x 241.3 cm/po

Collection:

Date de réalisation : 2002

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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The moment-9-11/ ghost plane / angel of death, [detail]

Artist: Rae Johnson

ID : 51409

Description:

Des mesures : 203.2 x 241.3 cm/po

Collection:

Date de réalisation : 2002

Matériaux : oil, latex, wax on canvas

Collection virtuelle : Original CCCA

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Gunning for Saddam

Artist: Rae Johnson

ID : 51412

Description: Live from Baghdad, The Cameron, Toronto, Jan. 2003

The paintings in this show are portraits of ideas playing out in the media, focusing on the recent renewed interest in nuclear war. CNN and Newsworld provide the landscape from which the omnipotent force of America and its allies pose and gesticulate, basking in the gaze of history.

I have stolen images from the public domain of broadcasting. Some of the faces will be familiar, however the intent is not to focus on nor criticise the individuals represented. The intent is to see the hierarchy of information bites in the tv media as a visual dance of the rites of war. By enhancing the images with the sensuous quality of oil paint, I want to turn these flickering media images into portraits of this moment, captured and remade into objects of beauty, and displayed on the "cave walls" of the Cameron.

Des mesures : 91.44 x 121.92 cm/po

Collection:

Date de réalisation : 2003

Matériaux : oil, wax on paper, mounted on canvas

Collection virtuelle : Original CCCA

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Artist: Rae Johnson

ID : 51414

Description: Live from Baghdad, The Cameron, Toronto, Jan. 2003

The paintings in this show are portraits of ideas playing out in the media, focusing on the recent renewed interest in nuclear war. CNN and Newsworld provide the landscape from which the omnipotent force of America and its allies pose and gesticulate, basking in the gaze of history.

I have stolen images from the public domain of broadcasting. Some of the faces will be familiar, however the intent is not to focus on nor criticise the individuals represented. The intent is to see the hierarchy of information bites in the tv media as a visual dance of the rites of war. By enhancing the images with the sensuous quality of oil paint, I want to turn these flickering media images into portraits of this moment, captured and remade into objects of beauty, and displayed on the "cave walls" of the Cameron.

Des mesures : 91.44 x 121.92 cm/po

Collection:

Date de réalisation : 2003

Matériaux : oil, wax on paper, mounted on canvas

Collection virtuelle : Original CCCA

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Live from Baghdad

Artist: Rae Johnson

ID : 51415

Description: Live from Baghdad, The Cameron, Toronto, Jan. 2003

The paintings in this show are portraits of ideas playing out in the media, focusing on the recent renewed interest in nuclear war. CNN and Newsworld provide the landscape from which the omnipotent force of America and its allies pose and gesticulate, basking in the gaze of history.

I have stolen images from the public domain of broadcasting. Some of the faces will be familiar, however the intent is not to focus on nor criticise the individuals represented. The intent is to see the hierarchy of information bites in the tv media as a visual dance of the rites of war. By enhancing the images with the sensuous quality of oil paint, I want to turn these flickering media images into portraits of this moment, captured and remade into objects of beauty, and displayed on the "cave walls" of the Cameron.

Des mesures : 121.92 x 91.44 cm/po

Collection:

Date de réalisation : 2003

Matériaux : oil, wax on paper, mounted on canvas

Collection virtuelle : Original CCCA

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Axis of Evil

Artist: Rae Johnson

ID : 51416

Description: Live from Baghdad, The Cameron, Toronto, Jan. 2003

The paintings in this show are portraits of ideas playing out in the media, focusing on the recent renewed interest in nuclear war. CNN and Newsworld provide the landscape from which the omnipotent force of America and its allies pose and gesticulate, basking in the gaze of history.

I have stolen images from the public domain of broadcasting. Some of the faces will be familiar, however the intent is not to focus on nor criticise the individuals represented. The intent is to see the hierarchy of information bites in the tv media as a visual dance of the rites of war. By enhancing the images with the sensuous quality of oil paint, I want to turn these flickering media images into portraits of this moment, captured and remade into objects of beauty, and displayed on the "cave walls" of the Cameron.

Des mesures : 91.44 x 121.92 cm/po

Collection:

Date de réalisation : 2003

Matériaux : oil, wax on paper, mounted on canvas

Collection virtuelle : Original CCCA

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Nuclear Threats

Artist: Rae Johnson

ID : 51413

Description: Live from Baghdad, The Cameron, Toronto, Jan. 2003

The paintings in this show are portraits of ideas playing out in the media, focusing on the recent renewed interest in nuclear war. CNN and Newsworld provide the landscape from which the omnipotent force of America and its allies pose and gesticulate, basking in the gaze of history.

I have stolen images from the public domain of broadcasting. Some of the faces will be familiar, however the intent is not to focus on nor criticise the individuals represented. The intent is to see the hierarchy of information bites in the tv media as a visual dance of the rites of war. By enhancing the images with the sensuous quality of oil paint, I want to turn these flickering media images into portraits of this moment, captured and remade into objects of beauty, and displayed on the "cave walls" of the Cameron.

Des mesures : 91.44 x 121.92 cm/po

Collection:

Date de réalisation : 2003

Matériaux : oil, wax on paper, mounted on canvas

Collection virtuelle : Original CCCA

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Was she dead…? #2

Artist: Rae Johnson

ID : 71360

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 111.76 x 152.4 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on canvas

Collection virtuelle : Original CCCA

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Head/Clouds

Artist: Rae Johnson

ID : 71355

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Head/Tornado

Artist: Rae Johnson

ID : 71363

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 101.6 x 167.64 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on acid free bond paper

Collection virtuelle : Original CCCA

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Disinterred Girl

Artist: Rae Johnson

ID : 71358

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Sunst/Bullet Hole

Artist: Rae Johnson

ID : 71361

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 101.6 x 167.64 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on acid free bond paper

Collection virtuelle : Original CCCA

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Head/Banff Highway

Artist: Rae Johnson

ID : 71362

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty á motionless, mute, and dead á a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 101.6 x 142.24 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on acid free bond paper

Collection virtuelle : Original CCCA

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Decomposing Head

Artist: Rae Johnson

ID : 71356

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Cement Head

Artist: Rae Johnson

ID : 71357

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Man Shot

Artist: Rae Johnson

ID : 71365

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Was she dead…?

Artist: Rae Johnson

ID : 71359

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on watercolour paper

Collection virtuelle : Original CCCA

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Bathtub Head

Artist: Rae Johnson

ID : 71364

Description: "Beautiful Dead Girls", or "Sleeping Beauty"

These paintings are contemplations on current ideals of beauty and desire, taken from the entertainment media, embedded in the timeless theme of Sex and Death.

In this series of work, I have concentrated on capturing television images of the "pretend" female corpse. The centre piece of the wildly popular forensic crime show genre, she belongs in the same category with Sleeping Beauty, Hamlet's Ophelia, Persephone and all mythical figures of feminine passivity in the extreme.

The current version of the ravaged heroine, is a fetishistic creature of contemporary lust and revulsion portraying a particular kind of Beauty œ motionless, mute, and dead œ a mortiferous object on which to project the collective fears and desires of the viewing public. The banal ugliness of brutality is glamourized in scenes of artfully constructed fictions blurring reality with fantasies of fear, repulsion and desire.

Removed from reality and elegantly restaged, the Brutal is somehow made Aesthetic. Images of Horror are made Beautiful. These paintings are intended to be visually beautiful and at the same time, subtly disturbing. They are reflections of artificially constructed images of eroticism and death in popular entertainment culture.

This work was created at the Banff Centre for the Arts. The landscape elements are Albertan mountains and skies interrupted by highways and factories. The figurative elements are taken from broadcast television.

Des mesures : 121.92 x 101.6 cm

Collection:

Date de réalisation : 2005

Matériaux : digitally created image, over-painted with cold wax medium and oil paint, printed on acid free bond paper

Collection virtuelle : Original CCCA

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