In Conversation: Rashid Johnson and Maud PageHauser & Wirth Hong Kong

Rashid Johnson is among an influential cadre of contemporary American artists whose work employs a wide range of media to explore the themes of art history, individual and shared cultural identities, personal narratives,literature, philosophy, materiality and critical history. For his first solo exhibition in Asia, ‘Nudiustertian’, Johnsonhas created brand new works, including Bruise Paintings, Surrender Paintings and Seascape Paintings,alongside his mosaics, continuing to work with a complex range of iconographies to explore collective andhistorical expressions of longing and displacement, while speaking to the times we live in.

Nudiustertian is an obsolete English phrase meaning of or related to the day before yesterday or the very recent past. For Johnson, the exhibition ‘Nudiustertian’ is an exploration of his own very recent past, with the works representing part of his practice that developed between 2018 and the present. All of these works track both his individual personal and artistic evolution throughout the last several years but also mirror the global zeitgeist.

About the Exhibition

Johnson’s oil on canvas painting practice developed in 2020 when he found himself alone with his family in Long Island. Away from his typical materials at his studio, Johnson used what he had available to him, oil sticks andcanvas, birthing a new way of working for the artist. Throughout his practice, Johnson selects materials andtools for the importance of their historical narratives, such as shea butter and black soap. Here, the canonically significant and universally recognizable medium of oil paint communicates his message all the more urgently.Portraying crowds of bright red faces, the resulting Anxious Red Paintings update the visual language of his long-established Anxious Men series and are the antecedents for the Bruise Paintings, Surrender Paintings, andSeascape Paintings on view in Hong Kong.

Capturing both subjective and collective historical states in real time, the artist pivoted this iconography to his Bruise Paintings and Surrender Paintings, rendered in hues of blues and whites. For the Bruise Paintings, Johnson created the color ‘Black&Blue’ in collaboration with R&F paints, which he layers and stretches across the canvas, giving the impression of a wider range of colors from a single hue. The repetition and expressiveness of the blue figures bring mobility to the works, a nod to the importance of gesture in Johnson’s oeuvre. With a lyrical sense of melancholy, the Bruise Paintings speak to the times we live in and create a liminal space where healing has begun but the remnants of trauma are still evident.

Continuing to explore the Anxious Men iconography, Johnson applies Titanium White oil paint on raw linen in the Surrender Paintings to depict ghostly faces, suggesting acceptance and reconciliation. As the artist explains, ‘Emptied out of colour, the Surrender Paintings feature white application only on raw linen canvases, conjuring a feeling of redemption and recognition. There’s a simplicity and quiet nature in how these new series relate to collective experiences of the last months