Lori Grace Johnson
Topics, concepts and theories all have a meaningful connection to each and all presentations. The importance of the juxtaposition of object-to-object, colour, material, and media in each piece is found in the maintenance of movement within; to and from each piece. The relay of any message or meaning will more likely lie within this range and any arrangements of works in the äutöshøw.
The final presentation of the works should entice the viewer to recognize the type of memory still present within the stationary mechanics. My hope is that by tapping into the corporeal counterparts (driver/owner), personal memory of the automobile in social and economic terms that a certain sense of rhetoric will resonate to meet their present.
The effects of the future had yet to reduce the romance of “polished magnificence” and the rewards received for beauty attained by material aesthetics. Therefore, operating from a high point in automobile history I am, along with all susceptible to automobile culture, witness to the turn of lipstick, long-cool cigarettes, gowns and chrome to rust, dust and debris.
Adhering to the belief that there is a state of ambient metaphysical activity that continues to exist long after the automobile has been deemed non-operational or obsolete. In all, I feel my works blend the seams of romanticism and hardcore reality both within, and along with the scenes of corporate activities and drive-in culture found in Dermot and David’s presentations. As found in the following lyrics, my pieces in the äutöshøw enact the story:
It’s here I sit and rust amid this ruin and rancor
like tire irons, toothy grills, and car parts before me…
The acid rain floods my floorboard, burns my pores
and rots my upholstery…
Once I was worshipped, polished magnificently
now I lay in decay by the dirty angry bay…
I’m ready to leave
I wanna get out of here
I’m ready to ride away
I don’t want to die here
I’m ready to ride …
My skin is metallic now
no longer an elegant powder blue…
My body unhinged and sleeping
in the jungle of motor block manifolds and metal relics…
What was deluxe becomes debris
I never questioned loyalty, but this dead end
demolishes the dream of an open highway…
Dig me - but don’t - bury me
Belew, A., Bruford, B., Fripp R., Levin, T., Three of a Perfect Pair “Dig Me”, King Crimson, Warner Bros., March 27, 1984.
A list of Lori.grace Johnson’s works:
Dig Me
Poster Series #1 & #2
Stylistically it was important to re-create the type of product and promotion relevant to the late 1950’s period of consumer history. In relation to the present day and age, and state of the automobile consumerism, I intended to challenge memory to recall its’ likeness to the original moment of promotion and consumer use. Beauty in design, technological ability and speed are summoned.
As inspired by the words from King Crimson’s song entitled “Dig Me” (see above), the story is recalled. Both the automobile and human are models identified by date, style, capability, mannerism and status. As products of the late1950’s, both are witness and testimony to a highly romantic, vivid and hopeful era. Along with the banner, poster and live advertisement often seen at the high-gloss auto show, we are dazzled by model and model alike.
Visions of the Zodiac
Utilizing what was referred to as an `Angel Eye’ style of taillight taken from a late 1950’s General Motors line of Chevy, the concept of visual reception and intake began its organic development.
Operating from the standpoint that there is information received synonymously through the lens of the automobile and the eyes of the driver; the visions, much like dreams, became an active form of the present.
Highway, landscape and consumer object aesthetics linger as recorded memory within the body of the vehicle (taillight lens) and its human (corporeal lens) counterpart.
The metaphysical state achieved is revealed in the synthesis of the mechanical and organic. The (technicolour video) images play across the projected landscape, presenting a new life born of the blended imageries of history.
Supernatural Attendants
As with `Visions of the Zodiac’, a pair of casements from the front indicator lights of the 1957 Chevrolet 210 Wagon (seen in the “Dig Me” series - also known as the `Zodiac’) have been utilized as the objects of central focus.
In order to create a sense of organic vitality and humanoid mannerisms, reams of electrical wire run from the light casements to a stationary point, suggesting a function similar to that of the optical cords. Although the pair already achieve some natural movement in their hanging positions, one casement is attached to a motion activated tracking system. When the motion sensor device is tripped, the lens is prompted to move briefly forward and then backward. As another informative counterpart to the past function of the automobile, these in their newly enhanced form become a type of lens. Like curious overseers, these visual links act as attendants to the automobiles history and future in their continued intake of information.