“THE TARGET IS DESTROYED”; “Reflex”; “Global Rotation”; “Save As Art? Yes / No.” The words inscribed across the surface of Charlotte Johannesson’s work suggest a terrain divided into stock phrases and coded lines. In the abridged display of her work at Hollybush Gardens, composed of numerous textile hangings, prints, and digital slides, Johannesson presents an image-world of jagged lines and pixelated icons, knotted together by thread and code. Primarily working between the loom and computer, Johannesson finds an aesthetic and technical resonance between the two machines, tracing the logic of