Carol Jackson The Day

July 22, 2016 - Aug. 20, 2016

Main Gallery

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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.

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