A Denver native, Rod Johnson’s recognition as a talented, self-taught artist has spread nationally, with enthusiasts applauding his brilliantly colored, stunningly energetic images. From Sharecroppers to Jazz, African Dancers to Eyvind Earle, all of Johnson’s influences are drawn from what moves him emotionally.

Johnson received his education in Industrial Design and Engineering at the University of Kansas. Once he graduated from college, Johnson used the skills he acquired in college to gain employment as a design engineer, developing the architectural framework for various structures. Although this position allowed him to create and assemble, Johnson was limited in the freedom of what he could produce artistically. It was then that he fully realized his desire to use his creativity, and understanding of color and line to produce fine art.

Johnson’s first works of art were strongly linked with his technical background. Works were highly detailed and of meticulous design. As time passed, he began to relax and paint from his heart, departing from the ridged techniques he had acquired in college. His images began to loosen up and develop more movement, a reflection of the jazz music he listened to as he produced. An impressionistic quality began to suffice the work. Johnson often applied paint so thickly that it created a rough texture on the canvas, and would often mix colors right on the canvas. He began placing strokes of various hues next to each other and let the viewer’s eye do the blending. These techniques began to suggest motion, and also captured the shimmering effects of light.

Johnson is most recognized for his African Dancers and Jazz paintings. Although these images could be viewed as culturally expressive, Johnson insists that they are influenced more by personal interest, than by his African American heritage. As noted earlier, Johnson is more interested in creating what touches him emotionally.

Regardless of subject matter, Johnson’s paintings almost always include people, or show the effects of man’s presence - on a street or path, for example. He wanted to catch people in candid rather than staged or posed moments. It is as if the artist and we, the viewers, are watching a private, contemplative moment. We see men, women, and children dancing in a tribal ceremony, playing the saxophone, or just heading for a night out on the town.