Manifestation, 2013

Drone Empire Decoration, 2016

Signature Cluster, 2012

In 2012 I made 3 of these small Signature Cluster paintings. As the title suggests, they were made simply by writing my signature multiple times in clusters. I’ve worked with signatures, the often lauded marks of artistic authenticity and branding, periodically for a a long time. I’ve signed generic products for sale as part of installations (along with videos aping infomercials), made giant signatures with computer cut vinyl lettering, printed signatures across large inkjet-on-canvas banknotes, and scrawled signatures repeatedly across large sheets of black paper to resemble landscapes. I’ll work with “the artist’s signature” again at some stage. Signature Cluster Oil stick and acrylic on canvas 40.5cm x 30.5cm – #contemporaryart #artgram #art #painting #drawing #nzart #artwork #artist #signature

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Face Value, 1999

Drone Warfare Decoration, 2015

Block Offer, 2017

Oasis, 2013

Oasis, 2013 – #painting #artgram #contemporaryart #nzart #art #artistsofinstagram

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Five Eyes Network, 2014

Simulations, 2012

This painting is Simulations, from my small Graphs series, 2012. None of the Graphs paintings have been exhibited. At the time I'd been looking at different kinds of dramatic graphs, primary graphs to do with climate change and financial boom and bust. Climate change has often been on my mind when it comes to making art, and by 2012 it was only about 4 years since the beginning of the global financial crisis. These graph paintings have been on my mind again lately because of the significant housing bubbles in Australia and New Zealand. This painting, and others in the series, could just a well be simulations of how that all plays out. Some other paintings in the series are: Downfall, Growth, Peak, Crisis, Rise, Manifestation. #painting #contemporaryart #nzart

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Signature Field 1 (detail), 2013

This is a fairly close-up detail of an acrylic paint pen drawing, Signature Field 1, from 2013. In that year I made a small series of Signature Field drawings/paintings in which I repeatedly scrawled my signature all over large sheets of black paper like this. Signature Field 1 was shown in the inaugural Parkin Drawing Prize exhibition in Wellington in 2013. I’ve been interested in using signatures, those often lauded marks of artistic authenticity and branding, for a long time. No doubt I’ll return to “the artist’s signature" again at some stage. This series of work really continues a thread I pursued for a few years and quite a few exhibitions in Australia in the mid to late 1990s. The work involved using my signature in various ways, including on generic products for sale as part of art installations (along with videos aping infomercials), as giant computer cut vinyl lettering, and eventually across giant inkjet-print-on-canvas banknotes and novelty bank cheques. Growing up in New Zealand, I was well aware of Billy Apple’s (#billyapple, @billyapplecider, @maryandbillyapple) early and ongoing work with signature and artist-as-brand. In the 1990s the international art market was expanding rapidly, so this kind of work seemed all the more relevant to me. That work was in many ways a response to his. In hindsight, perhaps New Zealand may have been a more appropriate place to try and present that work, but I was living in Sydney at the time, working part-time at the Museum of Contemporary Art, and completing a Master’s at Sydney College of the Arts, so it made sense to show it in Australia. Still, it seemed quite out of step to what was being made in Oz at the time, which I didn't mind. #painting #drawing #contemporaryart #signature #brand #nzart

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