Tomashi Jackson
American • b. 1980
簡歷
Color in its widest sense is at the heart of Tomashi Jackson’s research-based practice. Jackson, who has said that she finds “our current moment to be subliminally charged with horrifically distorted perceptions of color”, combines painting with sculpture, textile, embroidery, printmaking and photography to probe the intertwined histories of abstract painting, color theory and human rights legislation.
It was while studying at Yale University that Jackson noticed how the language Josef Albers used in his 1963 instructional text Interaction of Color mirrored the language of racialized segregation, particularly as made manifest in the 1954 court transcripts of Brown v. Board of Education of Topeka, Kansas.
分析
Selected honors: Toby Devan Lewis Prize (2016); Blair Dickinson Memorial Scholarship (2015 – 2016); Alice; Richard Lewis Bloch Memorial Prize (2010); Benjamin Menschel Fellowship for Creative Inquiry (2008)
“The language around de jure segregation is similar to Albers’s description of the wrong way to perceive color, as if color is static…Color is always changing, and, contrary to popular belief, it is not absolute. I saw the phenomenon of vibrating boundaries aligned with residential redistricting and redlining. Color theory and human rights are conceptually interwoven in my paintings. I find the language comparisons appropriate metaphors for a critique of racism rather than a critique of categories of race.”