simultaneity over sameness
Distributed Artworks circulate through shared-ownership, they are interdependent and accessible to many. This new venture experiments with the collective economies of cultural objects and affirms Jackson’s dedication to the poetics of making, circulating and living with painting.
RESEARCH AS MULTIPLE STATEMENT
v.14
Jackson’s conceptual practice is an enquiry into human vision and the mysteries of energy and matter. Their work considers the cumulative potential of painting to expand and move an image. Jackson is dealing with questions of relation, scale and visibility – not within the picture plane of a discrete work, but in the planetary dimensions of its distribution.
Jackson conceptualises painting and drawing as an energetic mass of light mobilised. Influenced by theories of radiant energy within the field of physics, each painted surface is an experiment with photons, materials and human sensing. They describe their multiplex paintings as scattered situations. The works construct a decentralised viewing experience, where the painting always remains mostly elsewhere. This refusal to make painting as a singularity or totality is therefore an act of resistance.
E. Jackson is a professional artist with nearly two decades experience, they are an alumni of the Royal College of Art and the groundbreaking alternative learning programme Syllabus. Their work is held in a number of private and public collections including: Henry Moore Institute, Leeds; Victoria and Albert Museum (Prints & Drawings), London; Frans Masereel Centrum, Kasterlee, Belgium; and Piramidón Centre D’Art Contemporani, Barcelona.
E. Jackson archive website
”Jackson’s painting with their economical sensitivity feel like a held breath among the general chatter.”
George Vasey, curator and writer – Trustee at New Contemporaries and a member of AICA-UK, International Association of Art Critics