What It Was
2019. 60” x 120” Archival pigment print on aluminum. Edition of 3.
What It Is
2018. 60” x 100” Archival pigment print on aluminum. Edition of 3.
You're It.
2019. 32” x 48” Archival pigment print on aluminum. Edition of 3
She's It
24” x 30” Archival Pigment Print (edition of 10)
He's It
24” x 30” Archival Pigment Print (edition of 10)
Finch It No.1
24” x 24” Archival Pigment Print (edition of 12)
Finch It No.2
24” x 24” Archival Pigment Print (edition of 12)
Finch It No.3
24” x 24” Archival Pigment Print (edition of 12)
That's It!
2019. 40” x 60” Dye-sublimation archival print on aluminum. Edition of 5.
“That’s It!” is assembled entirely of colours and shapes harvested from “What It Is” and “You’re It.” Constructed of abstract forms, it concludes the exhibit with it’s return back to representational art and references the finch motif used in Jackson’s previous exhibition “Space In Bird.”
What It Ain't
2018. 36” x 36” Archival pigment print. Edition of 12.
Not It
2018. 36” x 36” Archival pigment print. Edition of 12.
Not Now
2018. 36” x 36” Archival pigment print. Edition of 12.
It Was When
This series was constructed of carefully extracted and rearranged fragments of colours, shapes and time from What It Is. It illustrates the final collapse into disorder and the conclusive shift from representation to abstraction.
2018. 13.5” x 17.5” Archival pigment print. Edition of 20.
When It Was
This series was constructed of carefully extracted and rearranged fragments of colours, shapes and time from What It Is. It illustrates the final collapse into disorder and the conclusive shift from representation to abstraction.
2018. 13.5” x 17.5” Archival pigment print. Edition of 20.
It Was Once
This series was constructed of carefully extracted and rearranged fragments of colours, shapes and time from What It Is. It illustrates the final collapse into disorder and the conclusive shift from representation to abstraction.
2018. 13.5” x 17.5” Archival pigment print. Edition of 20.
It Never Was
This series was constructed of carefully extracted and rearranged fragments of colours, shapes and time from What It Is. It illustrates the final collapse into disorder and the conclusive shift from representation to abstraction.
2018. 13.5” x 17.5” Archival pigment print. Edition of 20.
What It Is at Studio Seven-Thirty
Join me on a brief private tour of my recent exhibit What It Is at Studio Seven-Thirty.
What It Is
What if, instead of thinking of photography as a method of freezing time, we were to think of it as freezing wavelengths of colour?
Using photos of industrial spaces as a template, Jackson applies colour to strip away any context or meaning. Though some options exist for computer automation and mechanizing the production of these images Jackson chose instead to painstakingly hand trace and digitally colour each object, allowing human consciousness to intervene in the manufacturing process.
Reconstructing and transforming utilitarian environments into surreal landscapes, Jackson offers a fictional world where multiple frequencies and fragments of time are presented simultaneously.
The large scale detailed photos encourage the viewer to engage the work up close. But doing so is an act of entropy, where the viewer them-self initiates their collapse into disorder.
The result is a frenetic, whimsical celebration of colour that blurs the line between representation and abstraction and challenges our perception of photography as a system of documentation.
What It Is
What if, instead of thinking of photography as a method of freezing time, we were to think of it as freezing wavelengths of colour?
Using photos of industrial spaces as a template, Jackson applies colour to strip away any context or meaning. Though some options exist for computer automation and mechanizing the production of these images Jackson chose instead to painstakingly hand trace and digitally colour each object, allowing human consciousness to intervene in the manufacturing process.
Reconstructing and transforming utilitarian environments into surreal landscapes, Jackson offers a fictional world where multiple frequencies and fragments of time are presented simultaneously.
The large scale detailed photos encourage the viewer to engage the work up close. But doing so is an act of entropy, where the viewer them-self initiates their collapse into disorder.
The result is a frenetic, whimsical celebration of colour that blurs the line between representation and abstraction and challenges our perception of photography as a system of documentation.