There are several pressure points I work under: the pressure of my race; the pressure of my gender; the pressure of my sexuality; the pressure of my community; the pressure of my family; the pressure of my peers; the pressure of failing as an artist; the pressure of my history, personal or national, of trying to find my place. All these cannot be apparent on the surface of the canvas because that space is reserved for magic—a feat within itself every time it happens. From a distance, it should seem effortless. It should always retain itself as a site of mystery, especially now. The pressure to sustain a practice is an ongoing one. Now, I have to deal with the pressure of explaining these works. There are three paintings selected for this show: Onus (Anansi #5), Gully Creeper (Anansi #4), and Tyranny and the Speed of Gossip. Held closely to their surfaces are personal stories, far beyond what is obvious. I will try my best not to ruin their magic.

Art has always been a tool of learning for me. Early on, through my ability, I always felt that it needed to be liberal. Especially for a place that gives so much but gets so little back. In my ignorance, I believed that I needed to add this pressure to my art practice. For the sake of its relevance, my art needed to speak about a people endlessly pushing against the boundaries of identity—as if to embrace it and expel it at the same time. What I also found was a unique way of hiding in plain sight—relying on an unwavering ignorance, both about myself and my immediate audience.

The complete overview of Leasho Johnson’s featured work can be found in the Kingston Biennial 2022: Pressure Catalogue, which is available for sale in the NGJ Gift Shop.