Johnny Abrahams lives and works in New York.
His latest body of work consists of panel paintings that are made up of various relationships between pattern, shape, and composition, using only a single width of band in either black or white acrylic paint. A pattern is chosen for its impact on perception. Line is perceived where no line exists, and shape suggested by the termination of many “lines” along an implied edge. Light is broken into its constituent colors, which move in opposition across the surface. Approaching a work, a design may appear subtly constructed of two tones or tone gradations; passed a threshold, these reduced elements become vibratory, destabilizing the fixed gaze of the eye.