2018 | Chalkboard Paint, Chalk, Video Projection, MDF, Gac 400, Topsoil from South East Austin | 72 x 60 x 1 in.
2018 | Topsoil from South East Austin, Latex Balloons, Montana Chalk Spray, String, Wire | 240 x 96 x 84 in.
2018 | Chalkboard Paint, Wood, MDF, Gac 400, Acrylic Sealer, Topsoil from South East Austin | 124 x 122 x 102 in.
2018 | Black Chalkboard Paint, Gac 400, School Chair, Topsoil from South East Austin | 33 x 84 x 70 in.
Floor Space Machinery Map
2017 | Wood, Chalk Paint, Chalk, Springs, Soil, Fabric Stiffener | 10 x 48 x 36 in.
2017 | Video Projection on Chalkboard | 24 x 36 x 3 in. | Total Running Time : 1 min. 30 sec (looping)
All I See Is Blue
2017 | Top Layer Soil from South East Austin, Muslin Fabric, Blue Dye, Clothespins, Wire, Polyester Thread | Flag Size : 72 in x 108 in | Total Running Time : 7 min.
Michael Love and Ariel Jackson collaborated to create a contemporary performance of Langston Hughe's "Let America Be American Again" poem from the 1940s. In a large space, echoes distort the recitation of Hughes' poem overlapped with Love's tapdancing. After each stanza Jackson recites she completes a military about-face to Love who is faced away from her. In response Love tap-dances on top of a plot of soil. The result are two squares of disheveled soil bought from South East Austin, a historically black community that has been gentrified. Behind Jackson is a coffin sized American flag dyed in blue hanging from a clothesline. The performance is a visceral response to the relevance of Hughes' poem to today's political climate. The use of the flag, military actions, and soil call to the ways that Americans are often understood as being patriotic and/or living up to the "american dream" (agriculture, military service, for ex.)
Ghost Image : (Re)Creation and (Re)Understanding
2017 | Two-sided chalkboard, chalk, projection, video, Image sourced from Judith Carney’s “Black Rice: The African Origins of Rice Cultivation in the Americas”, my grandfather’s 1970s farm machinery handbook | 60 x 72 x 2 in.
Green Side A Running Time (Loop) 4 min 17 sec
Black Side B Running Time (Loop) 1 min 16 sec
2017 | Found Fabric | Senegal, Africa | 4x5 Film | 35 x 36 in. Digital Print
2017 | Fabric, Pins, Thread, Typewriter | 20 x 16 in. digital print
The Blues Data Crop
2016 | Sunroom Project Space, Wave Hill, Bronx NY. Photo by Stefan Hagen | Typewriter & Silkscreen Ink on Muslin; Found Fabric; Wire and Filler on Wooden Dowels; Soil | 108 x 48 x 84 in.
Jackson’s installation in the Sunroom stems from research she has conducted in an attempt to understand her family’s history, particularly beginning in the 1950s, when her grandparents acquired and then eventually lost nearly 300 acres of farmland in rural Louisiana. Resembling crop formations, these sculptures were made from textiles that her grandmother used. Atop the fabric “leaves” of each sculpture, the artist has printed notes from Pete Daniel’s 2013 book Dispossession: Discrimination against African American Farmers in the Age of Civil Rights, which formed the core of Jackson’s research. As visitors walk through the rows of “data crops,” they are immersed in the fraught history of land ownership and sharecropping by black farmers in this country.
Missing Data Quilts
2016 | Sunroom Project Space, Wave Hill, Bronx NY. Photo by Stefan Hagen | Silkscreen and found fabric on Muslin
Jackson’s installation in the Sunroom stems from research she has conducted in an attempt to understand her family’s history, particularly beginning in the 1950s, when her grandparents acquired and then eventually lost nearly 300 acres of farmland in rural Louisiana. A collage of photos of her grandparents and other family members working on the farm has been silkscreened onto three quilts, using a printing technique that only allows a 30 to 50 percent chance of yielding a clear image. The reasons for the loss of her ancestors’ property have not been determined or well-documented, and the ghost-like, printed images reflect the artist’s frustration with having to weave together a narrative from hazy memories and incomplete information.