Rouge, part of the “upper cut series” continues the narrative of revealing the underlying balance of hidden truths that lie beneath the surface. The artists physically clawed away the top layer of paint as a way of replicating our own need to dig deep into ourselves to become fully actualized.
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.
