Rashid Johnson's "Plateaus" series is a profound exploration of space, identity, and materiality, deeply rooted in philosophical concepts and personal narratives. Inspired by the 1987 treatise A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Félix Guattari, Johnson's work embodies the notion of "nomadic" thoughts and non-hierarchical connections, mirroring the rhizomatic structure proposed by Deleuze and Guattari (David Kordansky Gallery).
Constructed from steel, spray enamel, plants, ceramic, concrete, plastic, brass, burned wood, grow lamps, CB radios, shea butter, rugs, and books, "Plateaus" stands as a monumental quasi-pyramid, reaching fifteen feet in height. This structure, devoid of outer walls, invites viewers to peer into its core, where a myriad of autobiographically resonant elements and thematic materials such as Richard Wright’s Native Son, shea butter, and CB radios are meticulously arranged (Whitehot Magazine) (David Kordansky Gallery).
Johnson’s use of these materials not only signifies his ongoing engagement with African American identity and history but also presents a new contextual forum for displaying elements that have frequently identified his work. The abundance of plant life intertwined with the structural scaffolding suggests an intrinsic connection to the environment, further complicating the relationship between the built structure and natural elements (Whitehot Magazine).
This series, particularly through installations like the one at David Kordansky Gallery, challenges conventional notions of individuality and collectivity, offering a self-portrait through an accumulation of objects and experiences. It confronts and refutes the idea that "no man is an island," proposing instead that one’s identity can be both singular and multiple, embodied in an assemblage of personal and cultural references (Whitehot Magazine).
"Plateaus" resonates as a space for reflection and confrontation with the self, inviting viewers to navigate between the communal and the private, the historical and the immediate. Johnson's work in this series, and indeed throughout his oeuvre, presents a complex tapestry of narratives that engage with broader dialogues on identity, community, and the nature of artistic expression (David Kordansky Gallery).