Fat but taut, elegant but forceful: such descriptions might seem paradoxical unless you’re looking at Johnson’s starkly linear Electricity
(all works 2014) or Flower
, in which half the canvas is a flat field of color, rounded off against abstract forms in lush lilac, dark charcoal, and electric blue. In Sting Ray
, crisply delineated vertical shapes twist together, bound on one side by a wash of black and on the other by a field of white, a sort of abstract yin and yang, suspended in space. The Vampire Mirror
looks like its title suggests: eerie and blank, the forms indiscernible.