© Sarah Anne Johnson, Courtesy Yossi Milo Gallery, New York — © Sarah Anne Johnson, Courtesy Yossi Milo Gallery, New York

In the midst of a global pandemic, Sarah Anne Johnson’s photographs feel particularly topical. Johnson, a Canadian-American multidisciplinary artist, seems to consciously reject the misconception that photography is an art form meant to capture reality. By using a variety of techniques such as painting, retouching, scratching, and burning to alter the surfaces of her photos, she gives viewers a glimpse into a reality that cannot be captured with a camera.

The show, photographed in the forests of Manitoba and entitled Woodland, has a clear focus on the natural world that is typical of Johnson’s work. Her landscapes are whimsical and light-hearted at first glance—with bright colors and interesting abstractions, she illustrates a world which reads as distinct from the one we live in yet also does not feel too distant. Perhaps this is because of a tendency to embed these colorful shapes in places that seem natural, as though the artist has tapped into a version of Earth that does exist, but that only she can see.

This reimagining which sets her photography apart might be described as a search—at some times frantic, at others more composed—for an unseen reality. Johnson has voiced her desire to create images of nature that are more honest than what can be seen with human eyes. The results of this are colorful, playful, and wonderfully enticing; her reinventions of the world which come across as possessing a sort of childlike naivety are, in part, exactly what lend her photos such a refreshing air. A return to childhood, the freedom to imagine a reality better than our own, is always appealing and particularly attractive at a time when many of us feel the crushing weight of uncertainty on a scale we have never experienced before. However, to ignore the latent ideas in Johnson’s work would be missing the point. On the other side of what is visually a fantasy world, the images challenge the viewer to consider the pieces of reality they may not see. This, in turn, presents a much darker idea; what might we all be missing that is right in front of our eyes, and why?

The Covid-19 pandemic is not explicitly central to Johnson’s Woodland. However, the concept of transcendence is, and whether it pertains to seeing beyond a pandemic, fighting to dismantle unjust systems, or simply looking beyond the confines of our own small lives, this idea should be ever-present for all of us. To Johnson, the parts of our world which allow for transcendence are invisible. Her goal, then, is to bring them to our attention, and she does this using knowledge of indigenous people’s land passed down over generations, awareness of research suggesting the capability of plants to communicate with one another, insight into ancient trees’ effect on sacred architecture. Adding yet another layer to her intention, Johnson has made it clear that she is not solely interested in conveying what she sees in nature—an equally important aspect is the communication of what she feels when immersed in the landscape.

As the ideas of transcendence and a better world are particularly heavy on many of our minds, Johnson’s work inspires crucial reflection. How can we expand the range of what we are willing to perceive? What does it look like to express our emotions honestly without losing sight of the bigger picture? At their core, Johnson’s photographs are about truth. By prompting us to reconsider the reality we see, they simultaneously urge us to consider all the realities that exist beyond our singular frame of reference.

Woodland will be on view at Yossi Milo Gallery in Chelsea until January 9, 2021.