Jackson’s work explores and transforms gaming, navigational, and domestic systems and diagrams using video, sculpture, and performance. Using chalk, chalkboard, soil, fabric and found objects Jackson is interested in how educational signifiers can evoke a creolisation of identity. The artist often uses installation to situate her practice into ideas of spatial matters as black matters. In Katherine McKittrick’s Demonic Grounds, McKittrick points to sociological cycle theory, which argues that, rather than events and stages in society and history progressing linearly, they are progressing in cycles suggesting repetition and as an outcome remnants of the past. Throughout her family’s history, land has been both a permanent reminder of systemic racism, as well as a temporal unfolding of possible transformations and outcomes based on individual and communal actions. Theories and familial conversations about what it means to be creole, material remnants of a life of farming, and a struggle for higher education functions as a guide to sourcing materials and research.