I'm sure this is what Johns is after: the venture of thinking, as it tarries over the rules of its own
delicate physicality (the string, the slats), grounded, as it were, by the generic images of thought — the painted mimesis of the frame's
wood grain, the painted picture of a stellar galaxy, the symbol of the Big Dipper, the harlequin
pattern, the word «BRIDGE» — all different means and modes of representing, of disciplining the riot of the real and making something meaningful.