Melt, 2017-2019. This collection of porcelain salt cellars is an ongoing study of geology, climate change, and material. It is a reflection and response to living in the arctic and being witness to extreme shifts in landscape, temperature, and seasonal norms.

All images copyright Amy Johnson


melt : A collection of salt cellars

porcelain, glaze + steel, 2017

Glaciers and their icebergs are transformative; they take you to an unknown world in an unknown time. To hear them drip, shift, crack is loud, startling and real. I am sucked into the seemingly fairytale environment, where endless spans of blue ice seduce with their glistening surfaces and sapphire pools. To be there, on a glacier, among the icebergs, and to navigate the frozen braided rivers connecting them, is nothing less than surreal.

The landscape where I live in Alaska consistently intrigues me. It is a place where, perhaps more than anywhere, change is the only constant. My thoughts are consumed with both the social and political realities that jolt the romantic perception of what it is to live in such a dynamic place. There is a hard line between what is real and what is not. Reflecting this, my work blurs the line between contemporary art and craft to present the bitter contrast of seduction and reality. I choose material and process strategically and consider associations that can be made with both.

Clay is a medium that is quiet and unassuming, yet carries a meaningful presence throughout history. The process and nature of the material alone is seductive, dramatic, and unique as it is so easily manipulated to then melt and become a brand new form.

This body of work is a culmination of ideas on material, geology, sociology and politics.It represents on a small scale perhaps the biggest change we are all facing.



Ma : site responsive installation
Porcelain + Glaze, 2014

“Ma” in Japanese means to exist between things; a pause.

Lace is a material that represents tradition, and femininity, even daintiness. Lace is often a veil, or a covering with space, and hollow intervals.

The process of deconstructing and fragmenting lace allows for an interruption in pattern, a change; however it is important to keep it present as it represents the feminine, and suggests a softer, more empathetic social paradigm.

I notice the snow on mountains as they become windblown and hardened. The surface is undulated with constantly changing layers affected by wind, rain, and sun. Negative spaces form and create patterns against the hard surface, glistening like sugar resembling something sweet and seductive.

“Ma” is a culmination of these ideas: The surrounding landscape, deconstruction of pattern, transition, and a suggestion of the feminine.

It is always changing, always quiet.