Recent printmaking by Jackson places process at the center, allowing material interaction to shape both form and structure. Works such as “Grid scan: soil memory shift” and “Biotic color uplift” emerge from soil, string, and ghost printing techniques in which color shifts, surface textures, and compositional variations are central. This approach is guided by educated guesses and practiced gestures of placement, developed through sustained work with soil and compost as primary materials.
Earlier work by Jackson often began with a defined framework–projects like the “Missing Data Quilts” series employed silkscreen and fabric, with controlled ink bleeding incorporated into the printing process. These earlier peices used more structured imagery and composition, whereas the current practice emphasizes open-ended arrangements led by the properties of the materials and the printing process.