Erin Johnson

With To Sea, the sound seeps out into the space. A filmed image of the sea is projected onto a wall. Overlayed onto the film is a Morse code strip punctured with the text of a report on the state of the ocean. The soundtrack of the text being transmitted makes standing in the space slightly unsettling—the high-pitched tone of the code signal and the strobe-like effect of the projected image combine to create a queasiness that might, perhaps, mirror what one would feel if they were to decode the text of the environmental report.

"Come In" explores how Morse history is entangled with the history of the Spiritualist church. The Spiritualist Church was founded by the Fox sisters in 1850. They claimed that they were mediums who could communicate with the dead and they justified this ability by citing the new ability, through Morse, to speak with someone far away almost instantaneously. After fifty years of practicing Spiritualism, the sisters declared the religion a hoax, and many years later Morse code officially lost its role in the commercial realm. As Spiritualists continue to send messages to the dead in spite of the sisters’ statements, and Morse operators transmit messages into the ether with hope, Johnson asks: How do communication networks and technologies affect our calls and responses and make visible our desire for reciprocity?

A short film set in Cayo Santiago, a small islet in the Puerto Rican archipelago, where 2,000 free-ranging rhesus macaques live in the longest-running mammalian field site in the world.

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.

"Oranges" is the second in an ongoing portrait of collectivity. The camera pans across a group of artists - one by one in succession - as they engage in an intimate exchange. The gestures make up a new grammar, revealing something that does not make sense because of its proximity to something else, but because something new is understood.

A biologist working for the Savannah River Site delivers a lecture about wild dogs whose mythic relationship to the protected three-hundred square-mile nuclear weapon facility is embellished to justify its displacement of local residents, and obscure the violence sustained by its activities. The video’s two channels enact a confluence between two epic timelines: the deep history of the Carolina dogs, who are speculated to descend from the nation’s first canines, and the precarious future imperiled by nuclear weapons programs and the production of radioactive waste.

"If it Won’t Hold Water, it Surely Won’t Hold a Goat" is an intimate meditation on the subversive nature of goats and their effect on the people who spend time with them. Centered on the story of the legendary Goat Man - a nomadic figure who spent most of his life walking the roads of Georgia with a wagon pulled by a herd of goats - this experimental documentary weaves together an interview with a goat farmer, footage of the daily rituals Johnson enacted with her own herd, and a poem about the Goat Man’s experimental and spectacular life.

For the three-channel video Salidas y Entradas Exits and Entrances, artists Jessica Hankey and Erin Johnson worked with applied theatre facilitator Gina Sandi Diaz to offer performance workshops at public daytime senior centers managed by the city of El Paso’s Parks and Recreation Department. With the senior center as a stage, the elders who participated in the workshops enacted social, political and geographical imaginaries for the camera. Through improvisation and performance exercises drawn from the work of Viola Spolin and Augusto Boal, themes emerge: the dynamics of the U.S.- Mexico border, the desire to be seen, the role of musical storytelling as a soundtrack to daily life, power dynamics, and gender as performance. As the boundaries between rehearsal, improvisation, and performance blur, the ways in which individual lives and sociopolitical realities merge together are foregrounded.

When artist Erin Johnson and film editor Charlotte Prager moved into a seaside house in 2021, they knew only a handful of facts about the two women who designed and built it in 1971. The two women - art collector Mary-Leigh Smart and artist Beverly Hallam - were exacting about their specifications for the house, and they lived there together for over forty years. In "To be Sound is to be Solid," the filmmakers venture to decipher the house's opaque queer history by studying its complicated and circuitous floor plan. "To be Sound is to be Solid" is a film of layered intimacies and vicarious encounters. By investigating indefinability, erasure, and transparency in queer archives and scientific research, the film builds connections between lesbian, architectural, and environmental histories.

In "The Way Things Can Happen," extras from "The Day After," a 1983 made-for-TV movie depicting a nuclear attack on Kansas, recollect their original scenes, now 34 years later. Having been filmed in the midst of the Cold War on location in Lawrence, Kansas and with a cast of five thousand locals, "The Day After" blurred the distinction between extras’ everyday existence and the movie and in doing so achieved the urgency and magnitude of live coverage of a national crisis - all with vast political and social implications. In their retelling of their scenes from "The Day After," the extras omit references to the movie itself, further obfuscating the distinction between what happened in the film and in reality. A portrait of a city that once performed its own fictional destruction, "The Way Things Can Happen" queers time by stepping outside of linearity, creating a space for considering life where our country was destroyed by nuclear war and choosing a different path.

"There are things in this world that are yet to be named" centers around Solanum plastisexum - an Australian tomato whose sexual expression is unpredictable and unstable, challenging even the fluid norms of the plant kingdom. Footage of the team of botanists who recently used their Solanum research to explode notions of sexual normativity in any plant or animal is combined with a voiceover of letters sent between science writer Rachel Carson and her lover Dorothy Freeman. "There are things in this world that are yet to be named" is a meditation on erasure, indefinability, and the intersection of queer and environmental histories.