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.