From the Garboushian Gallery Press Release 2011:  Illusion and limitation play a central role in Kate Johnson’s work in a series she calls “More Than Or Equal To.”  For each of these infinity portraits - self-aware photographs that attempt to capture the concept of infinity - Johnson constructs a small glass and mirror diorama which she then photographs.  There is a sheer, crystalline beauty in each of these prismatic pieces, even as they wryly admit to the illusion that infinity and depth are being rendered falsely within a finite, two-dimensional work space.  Johnson’s hall of mirrors visual trick (in which images repeat endlessly against one another) purposefully calls attention to itself through the repeated appearance of her camera lens (as well as the green-blue edges of the glass) throughout the photographs.
       
     
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 From the Garboushian Gallery Press Release 2011:  Illusion and limitation play a central role in Kate Johnson’s work in a series she calls “More Than Or Equal To.”  For each of these infinity portraits - self-aware photographs that attempt to capture the concept of infinity - Johnson constructs a small glass and mirror diorama which she then photographs.  There is a sheer, crystalline beauty in each of these prismatic pieces, even as they wryly admit to the illusion that infinity and depth are being rendered falsely within a finite, two-dimensional work space.  Johnson’s hall of mirrors visual trick (in which images repeat endlessly against one another) purposefully calls attention to itself through the repeated appearance of her camera lens (as well as the green-blue edges of the glass) throughout the photographs.
       
     

From the Garboushian Gallery Press Release 2011:

Illusion and limitation play a central role in Kate Johnson’s work in a series she calls “More Than Or Equal To.” For each of these infinity portraits - self-aware photographs that attempt to capture the concept of infinity - Johnson constructs a small glass and mirror diorama which she then photographs. There is a sheer, crystalline beauty in each of these prismatic pieces, even as they wryly admit to the illusion that infinity and depth are being rendered falsely within a finite, two-dimensional work space. Johnson’s hall of mirrors visual trick (in which images repeat endlessly against one another) purposefully calls attention to itself through the repeated appearance of her camera lens (as well as the green-blue edges of the glass) throughout the photographs.

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MT Untitled #12.jpg
       
     
MT Untitled #13.jpg
       
     
MT Untitled #14.jpg
       
     
MT Untitled #15.jpg
       
     
MT Untitled #16.jpg
       
     
MT Untitled #17.jpg
       
     
MT Untitled #18.jpg