• Carol Jackson
    Yes Master
    2016
    leather, acrylic, paper mache, epoxy putty, enamel, wood
    58 x 55 x 5 and 50 x 11 inches

  • Carol Jackson
    C'mon (it's warm)
    paper mache, acrylic, inkjet print
    22 x 25 x 30 inches

  • Carol Jackson
    M-M-MUST
    2016
    paper mache, epoxy resin, acrylic, leather
    10 x 22 x 13 inches

  • Carol Jackson
    M-M-MUST
    2016
    paper mache, epoxy resin, acrylic, leather
    10 x 22 x 13 inches
    (Detail)

  • Carol Jackson
    Ahoy
    2016
    leather, enamel, inkjet print, acrylic
    33 x 39 inches

  • Carol Jackson
    Pacific Terrace
    2016
    paper mache, epoxy resin, acrylic, enamel, leather, inkjet print, wood
    49 x 37 x 20 inches

  • Carol Jackson
    Washed Up
    2016
    paper mache, epoxy resin, acrylic, inkjet print
    24 x 16 x 9 inches; 18 x 17 x 7 inches; 11 x 13 x 10 inches

  • Carol Jackson
    Washed Up
    2016
    paper mache, epoxy resin, acrylic, inkjet print
    24 x 16 x 9 inches; 18 x 17 x 7 inches; 11 x 13 x 10 inches
    (Detail)

  • Carol Jackson
    Two Doors Down
    2016
    paper mache, epoxy putty, acrylic, inkjet print, enamel
    25 x 25 x 23 inches

  • Carol Jackson
    Two Doors Down
    2016
    paper mache, epoxy putty, acrylic, inkjet print, enamel
    25 x 25 x 23 inches
    (Detail)

  • Carol Jackson
    The Day of Return
    2016
    inkjet print, acrylic, leather, enamel
    48 x 33 x 2 1/2 inches

  • Carol Jackson
    HAAALP
    2016
    leather, acrylic, enamel
    22 1/2 x 19 inches

  • Carol Jackson
    Where?
    2016
    paper mache, epoxy putty, acrylic, leather
    25 x 25 x 8 inches

  • Carol Jackson
    Coppertone
    2016
    leather, enamel, inkjet print, acrylic
    26 x 29 1/2 inches

  • Carol Jackson
    Lake of Fire
    2016
    leather, enamel, inkjet print, acrylic
    21 x 25 1/2 x 33 inches


PRESS RELEASE

Opening reception: Friday, July 22nd, 6-8pm

Carol Jackson has been flummoxing and delighting viewers in Chicago for 25 years.  Her work has often dealt with languages of ornament, borrowing from and perverting the marginal scallops, scrolls, and ribbons that are holdovers in contemporary culture from the Victorian era.  A precise and disciplined craftsperson, she has chosen tooled leather as a frequent material, most recently in combination with degraded photographic imagery.  Jackson’s new work – some of it wall-hanging, some free standing sculpture – has left the more declamatory modality of earlier pieces for a productively ambiguous abstraction, in which a form is at once clearly a torso and at the same time an unnerving lump, while in another work titled “Yes Master,” an elaborate black frame is accompanied by a satellite object equipped with a whip-like fringe.  Impossible to encapsulate, Jackson’s uncanny work demands to be pondered in person.  Among her recent accomplishments, she had an incendiary solo show at ThreeWalls, Chicago, and was chosen for the Whitney Biennial, both in 2014.  This is her first exhibition at CvsD.