Emily Johnston

Emily Johnston

My work spans experimental publishing, installation, and moving image. My methodology is largely collaborative, drawing from my quotidian surroundings in Ireland and Germany, where I live and work. I invest in capturing interesting moments of encounter with unnoticed everyday materials in urban or domestic contexts. My work has been shown internationally, and my most recent group exhibitions include listening to, a deep listening event produced collectively at New Fears, Berlin (2024), Zwischenräume, Neue Galerie für Zeitgenössische Kunst, Gera, DE (2023), What is Utopia?, Generator Projects, Dundee, UK (2022), and The Office of Mysterious Charm, Six Seville Place, Dublin, IE (2021). Experimental publishing is a core element of my practice.

Recent sound work Subtitles/obvs was broadcast on Plastic Language w/ Field Notes on NTS Radio (2025). Recent publications include and the more recent ones (dots.press, Struer Tracks Sound and Listening Biennale, Struer, DK, 2025), (RTM.FM at Taco Gallery, London), ‘coffee stained carnations’ (pdf.mag, Dublin, 2024), Office of Interludes (HOAX Press, Dublin, 2022) and Cathy Wilkes (The Paper, Good Press, Glasgow, 2022).

Upcoming projects include a new radio workshop series on Muine Bheag Arts Radio, Carlow in collaboration with Welsh arts organisation Arcade Campfa (2027), and a series of self-initiated, site-responsive events across commercial, industrial and community spaces in Dublin, IE (2026- 2027).

Artist Statement

I am a visual artist based between Ireland and Germany. Using collaborative and process-driven methodologies, my multimedia practice links to the material world. I use acquired objects (domestic and industrial), analogue and low-res photos, and found text to convey the vast array of things/experiences we encounter in a single day. The collaborative element of my practice includes self-initiated experimental publishing, sound works generated through archival footage, and workshops, exercises and site visits. I conduct research that is then disseminated in my practice using experimental forms to explore our sensory experiences of the world. By depicting the multifaceted aspects and many stimuli of daily life, my work poses questions about how material objects relate to the act of listening and witnessing. I rely on densely researched information, collected from reading material, methodologies of conversation, artistic research and creative field trips, which then perpetuates further materials that enter my artworks.

One example is my recent experimental publication and the more recent ones. This quotational text was written using conversations, everyday observations and daily readings as its subject matter. I use the moment of exhibition to bring together improvisational and fixed elements to create an immersive atmosphere that engages with our daily encounters. I enact a continuous process of gathering research materials, culminating in a “material log” which then becomes part of the exhibition itself. My sculptural approaches assemble physical forms, incorporating found objects, manipulated raw materials and infrastructural interventions responding specifically to their site of display.