Alex Jackson: Chrysalis
Conversations on Culture, Saturday October 9, 4:00 PM
Alex Jackson In Dialogue with Mark Gibson, Artist
Alex Jackson’s first solo exhibition in New York, Chrysalis, marks a significant turning point for his practice and development. Emerging from the expanding narrative space he has developed, this body of work explores many propositions set forth over the past six years. Jackson has gained a new sense of clarity. The ethos of his practice is committed to maintaining an expansive and emancipatory space both for the formal conditions of the work, as well as for the intellectual and social imagination. Chrysalis is a new space, engaged in ideas around the fantastic and speculative storytelling. Jackson considers how the methods of world building have opened new ways for him to think about the formal and conceptual conditions of image-making. His imaginative spaces are inspired by history, strategies of liberation and his own experiences. Jackson’s world is not reliant on systems of dominance. A Chrysalis: the shell, the condition the being – enclosed into a single term, it is a stage of transformation from one form to another.
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Alex Jackson, The Ambassador of Additivity, 2021
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Alex Jackson, Land of See (The Pyrolytic Eye), 2021
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Alex Jackson, Color Theory for Ghosts, 2021
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Alex Jackson, See Gate #7, 2021
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Alex Jackson, See Gate #6, 2021
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Alex Jackson, See-Gate (The Six Prism Passage), 2020
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Alex Jackson, See Gate Zero (Black Eye), 2021
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Alex Jackson, .NUR, 2021
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Alex Jackson, Entanglement #2, 2020
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Alex Jackson, Untitled, 2020
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Alex Jackson, Untitled (Gathering), 2020
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Alex Jackson, Xylem and Phloem, 2020
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Alex Jackson, Pather Panchali, 2020
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Alex Jackson, Recombinant Attempt #1, 2020
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Alex Jackson, Untitled (Serpent Study), 2019
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Alex Jackson, Untitled (Sun Suit), 2020
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Alex Jackson, Untitled, 2018
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Alex Jackson, Chromaligamentation, 2020
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Alex Jackson, Untitled, 2018
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Alex Jackson, Chromaligamentation, 2021
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Alex Jackson, Untitled, 2019
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Alex Jackson, Untitled (Nosey), 2020
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Alex Jackson, Self Portrait As A Hoodoo, 2018