John Patterson uses text and installation art to explore and deconstruct themes such as cultural industrialization, history creation, and artistic spirituality aesthetics. His artistic practice is characterized by its diversity and interdisciplinary nature including writing, sound, object making, and installations. One of John’s notable thematic concerns is the intersection of technology and nature. Consequently, his drawings often address the disintegration of the natural-technological divide, reflecting on how modern life is permeated by invisible digital signals and technological artifacts. 

During his first year of art school, Patterson’s disillusionment with commercial art led him to explore contemporary and conceptual art. The exposure to avant-garde practices and studying 20th and 21st-century art history broadened his perspective, steering him towards conceptual art and installations. His interactions with artists and mentors who operated outside the conventional art market influenced this shift. Being that, he started to appreciate the value of artist-run spaces and subcultural art practices. In 2017, he co-founded Blinkers, a collaboratively managed project space focused on showcasing and engaging critically with the work of emerging and experimental artists. He completed his MFA in Public Art & New Artistic Strategies from Bauhaus University in Weimar. Patterson has written for Border Crossing and Canadian Art, among others, and is a co-founder of the collective project RITA MAGAZINE with artists committed to exploring the psychological effects of the global movement. 

Installations integrated with people

Patterson’s creative process is often constructed within the collaboration of other artists or people who are called to participate in public installations. Therefore, his practice relies on the exploration of space and context. His work often extends beyond traditional gallery settings, engaging with public and unconventional spaces. This interest in site-specificity underscores a rejection of static, isolated art forms in favor of works that interact dynamically with their environments. 

“When talking about public art, a lot of people associate it with these kind of monumental sculptures commissioned by cities or by the state, but I think public art is much more than that.”

images by PILOTENKUECHE or supplied by an artist

His site/time-specific projects extend beyond the studio, engaging audiences through activations that evoke unique interpretations, often rooted in poetic expression. This eclectic approach is driven by a desire to integrate various artistic forms. He chooses a broader trend in contemporary art where boundaries between mediums are increasingly blurred. 

Reflecting the space

“Listening” constitutes a large part of his practice, and during his residency in PILOTENKUECHE, he can embody this aspect of his creative process. An example of Patterson’s thematic exploration is his interest in ancient Egyptian votive objects. These artifacts, often body parts made out of clay, were offerings to deities in hopes of receiving divine assistance. Therefore, this historical motif is reinterpreted in his work as a way to explore the concepts of listening, communication, and the act of giving.

written by Aybüke Sanuç

Fleshy Gesture : Texture

Vernissage Sat 31 Aug 7-10 PM
Open Sun 1  – Wed 4 Sept  4-8 PM

Alte Handelsschule
Giesserstr 75
04229 Leipzig

Abandoned New Position

Vernissage Sat 21 Sept 7-10 PM
Sun 22  – Wed 25 Sept 4-8 PM

PILOTENKUECHE
Franz-Flemming-Str 9
04179 Leipzig