A more recent theme Jackson has been exploring is the consciousness a large crowd takes on, as if it becomes it’s own organism. Endings of books such as “Perfume” and “The Day Of The Locust” instilled a fear and respect to his understanding of the dynamics of large group mechanics. As we explore the piece, figures of all sizes, moods, and motivation can be seen emerging from the highly textured background that was made by carving into the acrylic paint with knives, picks and even the artist’s fingernails producing highly expressive movement that while extremely raw, have a refined control.
Each of Jackson’s works he sees as an individual, created with full personality and purpose including both darkness and light. Photography and music from heavy metal to classical have played important roles in Jackson’s life. His paintings are the combination of the captured moment expressed in visual rhythm.
While darkness and the ‘Jungian Shadow’ have always been elements in his artistic practices; “darkness reveals light” as he says, and vice versa; we see a more daring use of bright and joyous colours seemingly to illustrate blossoming plants and flowers that are then counter balanced with the use of uniform lines. But is what you see with the naked eye genuinely all of it? What images and objects do you really see between the lines?
Jackson also reflected upon his unintentional tendency to create works in pairs or more. Good Morning, Good Afternoon and Good Night form a story-like trio and in the pair The InBetween and Ghost of the Present we see reminiscent advancements from his previous series focusing on liner optics. In Blood Ivory and Jodorowsky‘s Wounds we see the artist pushing geometric order and controlled chaos past the content of the paintings into even the shape and construction of the canvas.
