Vanessa Jackson
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Vanessa Jackson (born UK, 1953)
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
Vanessa Jackson (born UK, 1953)
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
Vanessa Jackson (born UK, 1953)
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
1975 – 78 Royal College of Art
1971 – 75 St Martin’s School of Art
Vanessa Jackson, on first reading, appears to take the most formal approach to painting, but her use of geometry and its three dimensional function deny the supposed flatness of modernist space. Jackson's work explores the contradiction of a fully realised space at once pertaining to logic and completeness and uncertainty and unease. The ornamental and optical play of colour acts to both confirm and confuse our sense of perception, constantly shifting between concrete presence and the ambiguity of space beyond our grasp. Jackson destabilises the very 'ground' we most desire, a sense of security and belonging.
