Artist Simen Johan  photographs a variety of plants and animals in natural preserves, zoos, farms, museum dioramas or his own studio,then “resituates them digitally into new environments constructed from images photographed elsewhere.”  The new work, Until the Kingdom Comes, is on display from November 3 to December 23 at the Yossi Millo Gallery in Manhattan.

For Johan, the images, ” … depict an unsettling natural world hovering between reality, fantasy and nightmare. Johan merges traditional photographic and sculptural techniques with digital methods.”

While some photographs in the series reference Biblical motifs, Johan says that his choice of title, Until the Kingdom Comes, “refers less to religious or natural kingdoms and more to the human fantasy that one day, in some way, life will come to a blissful resolution. …In a reality where understanding is not finite and in all probability never will be, I depict ‘living’ as an emotion-fueled experience, engulfed in uncertainty, desire and illusion.”

Further Reading

How to unmake the world

In this wide-ranging conversation, para-disciplinary artist Nolan Oswald Dennis reflects on space, time, Blackness, and the limits of Western knowledge—offering a strategy for imagining grounded in African and anti-colonial traditions.

A migrant’s tale

On his latest EP, Kwame Brenya turns a failed migration into musical testimony—offering a biting critique of ECOWAS, broken borders, and the everyday collapse of pan-African ideals.

What Portugal forgets

In the film ‘Tales of Oblivion,’ Dulce Fernandes excavates the buried history of slavery in Portugal, challenging a national mythology built on sea voyages, silence, and selective memory.

Quando Portugal esquece

Em ‘Contos do Esquecimento,’ Dulce Fernandes desenterrou histórias esquecidas da escravidão em Portugal, desafiando uma mitologia nacional construída sobre viagens marítimas, silêncio e memória seletiva.