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Matthew Day Jackson

@matthewdayjackson

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Staring into this collective "life review"

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THE WEIGHT OF HISTORY | MATTHEW DAY JACKSON & SAMUEL ROSS

Two artists. Two distinct histories.

Presented together in ORIGINS, Matthew Day Jackson’s B29 Chair (2015) and Samuel Ross’s Anaesthesia I (2022) challenge the boundaries between art, design, and the histories embedded in the objects we live with.

Jackson’s B29 Chair transforms surplus components from the original pilot seats of the Boeing B-29 Superfortress, the aircraft model used to drop the atomic bombs on Hiroshima and Nagasaki, into an object of contemplation. Retaining the engineering precision of its military origins, the chair rests upon a geometric steel base inspired by Buckminster Fuller’s Dymaxion Map, a symbol of planetary unity and interdependence. What was once designed for warfare is reimagined as a place for thought, creativity, and reflection on the responsibility that accompanies power.

In dialogue, Samuel Ross’s Anaesthesia I brings together the seemingly opposing languages of Western Brutalism and traditional West African furniture. Concrete, engineered wood, and steel meet Abidjan clay, turmeric, and other organic materials in a work that is both architectural and deeply tactile. For Ross, these materials carry the memory, philosophies, and cultural histories of their places of origin, transforming the writing desk into a vessel of collective memory.

Together, the works offer two compelling perspectives on the relationship between design and human experience. One confronts the legacy of industrial innovation and its capacity for both destruction and renewal; the other brings disparate cultural traditions into dialogue through material and form.

MATTHEW DAY JACKSON
B29 Chair, 2015
Aircraft aluminum, steel, brass, leather upholstery
96.52 × 69.85 × 73.66 cm (38 × 27.5 × 29 in)

SAMUEL ROSS
ANAESTHESIA I, 2022
Glass fiber reinforced concrete, OSB, fired OSB, aluminum, stainless steel, Abidjan clay, turmeric, acrylic, acrylic lacquer, polyurethane
76 × 173 × 56 cm (30 × 68 × 22 in)
Edition of 8 + 4 artist’s proofs

On view as part of ORIGINS at @thirty8east

For inquiries: info@ashleeharrison.com

#originsexhibition #matthewdayjackson #samuelross #contemporaryart

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We are delighted to be participating in @friezeofficial this week. Find us at booth C20 from October 14-18 at Regent’s Park in London (UK).

Images:

Installation views by Damian Griffiths

Matthew Day Jackson
‘Study Collection (MDJ Grey Matter from First MRI)’
2026
Stainless steel, mirror, lucite, trinitite, wood, epoxy, horse femur, acrylic and oil paint
80 x 49.5 x 30.5 cm | 31 1/2 x 19 1/2 x 12 in

Robert Zandvliet
‘Poppy’
2026
Egg tempera on linen
172 x 144 cm | 67 3/4 x 56 3/4 in

Dirk Braeckman
‘N.D.-N.E. #20-25’
2025
Ultrachrome inkjet print mounted on aluminium support in stainless steel
120 x 96 cm | 47 1/4 x 37 3/4 in

#frieze #friezelondon #grimm #grimmgallery

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Another highlight of “Everything Ahead of Me” is Mathew Day Jackson’s “Windshield (C4 Corvette).” This illuminated stained glass work reflects Jackson’s recurring exploration of the “Horriful”—the idea that human creations and historical symbols carry both profound beauty and destruction at the same time. By rendering the C4-generation Chevrolet Corvette windshield in traditional stained glass illuminated by LEDs, he merges automotive design, Americana, and sacred or craft-based art traditions.

Born in 1974 in Panorama City, California, Matthew Day Jackson works in sculpture, film, photography, painting, performance, and installation. Jackson has long explored the dialectics of historical narratives and ideologies. These investigations address American mythologies, science, technology, spirituality and modes of power through idiosyncratic materials and wide-ranging production methods. Jackson uses frameworks such as domestic space, exploration, and conquest to illuminate the relationship and tensions between materiality and ideal. The resultant work is an uncanny and discomfited distillation of a failed utopia. Individual sculptures and paintings interconnect with each other to create complex scenarios that revisit history and reassemble its narratives. Frequently monumental, his work imposes not only on a large physical scale, but conceptually occupies an intellectual terrain spanning from ancient history to science fiction and outer space. Matthew Day Jackson’s work has been presented internationally in solo exhibitions including Serlachius Museum in Mantta, Finland; ZKM Museum of Contemporary Art in Karlsruhe, Germany; Qiao Space in Shanghai, China; Savannah College of Art and Design Atlanta; Gemeentemuseum, in Den Haag, Netherlands; MAMbo in Bologna, Italy; and Kunstmuseum Luzern in Lucerne, Switzerland.

#corvette #car #stainedglassart #mathewdayjackson

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ORIGINS marks the New York debut of multidisciplinary Dutch artist @naleye.

Exploring memory, myth, identity, and the relationship between personal and collective histories, Naleye’s practice considers the traces that people, places, and experiences leave behind. Working through meticulously layered surfaces, grids, fields of color, tonal shifts, and moments of disruption, he creates compositions that feel simultaneously architectural and atmospheric.

In Traces of a Place 005, dense, rhythmic mark-making builds a surface that feels at once mapped and remembered. Structure and intuition coexist as layers accumulate, shift, and interrupt one another, revealing a complexity that unfolds slowly over time.

At the heart of Naleye’s practice is an interest in stillness and slow looking. His paintings resist immediate interpretation, inviting the viewer to spend time with their surfaces as material, memory, and emotion gradually emerge.

Pictured here, Naleye’s painting enters into dialogue with works by Samuel Ross and Matthew Day Jackson, bringing together three distinct approaches to material, memory, and place.

ORIGINS, on view at @thirty8east

For information: info@ashleeharrison.com

#originsexhibition #contemporaryart #naleye

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📍Walla Walla Foundry Metal Shop

Material: Bronze, stainless steel

Process: 3D model, 3D print, hand embellishment by artist, lost wax cast, direct burnout, fabricate armature and working fireplace elements, patina

Project dimensions: 179" L x 69" W x 255" H / 455 cm L x 176 cm W x 648 cm H

Project weight: 13,541 lbs. / 6142 kg

#wallawallafoundry #wallawalla #artfabrication #contemporarysculpture #contemporaryart #art #bronze #stainlesssteel #3Dmodel #3Dprint #lostwax #lostwaxcasting #metalshop #metalwork #welding #welder

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This October, sit with the season.

On October 9th, the Hilliard opens Elemore Morgan Jr.: Photographs from the American Folklife, 1976, kicking off festival weekend with Archive as Art, a panel discussion and reception. Presented with Festival Acadiens et Créoles, the Smithsonian Folklife Festival, and the Center for Louisiana Studies. Free for members; included with general admission.

3:00 – 3:45 p.m. Panel Discussion
4:00 – 4:45 p.m. Exhibition Opening Reception

Families are invited back for Create & Play Café: Festival Edition on October 10th, 10:00 a.m. – 12:00 p.m. Free for families; children 10 and under always participate free.

Three exhibitions carry through the month, worth returning for:

Matthew Day Jackson: Yesterday's Tomorrow, through August 2027
Curtis Patterson: Persistent Vision, Sculptures from 2011–2026, through February 2027
A Century in Focus: Images from Women Photographers of the 20th Century, selections from the Permanent Collection, through February 2027

Tickets for the Morgan opening is in the bio.

Images Courtesy of the artist. © Elemore Morgan Jr.

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‘Gate’ [2022] sculpture by @matthewdayjackson

“Four years ago, I made this sculpture in a workshop at the Walla Walla Foundry out of cardboard, wax, tree branches, paper and anything else I could get my hands on that could be “Burned out”. The sculpture is based on Rodin’s “Gates of Hell” and is a direct cast, meaning that no molds were made and is meant to be a unique work. I had made preliminary drawings of the work a decade earlier but needless to say, it needed a space and someone with vision to allow it to become real. The work lives at Rowdy Meadow which is the brainchild of Scott Mueller and will become a part of the Cleveland Museum of Art in the future. Yes, the fire is real.”

‘Gate‘ [2022] by Matthew Day Jackson
27feet x 14feet x 6feet
Bronze, Stainless Steel, artist made Ceramic Tile.

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Then. Now. Next. The season has begun.

Last weekend, we welcomed the Hilliard community to open three exhibitions from Matthew Day Jackson, Curtis Patterson, and women photographers of the 20th century. Thank you for looking closely with us and for making the first night of fall one to remember.

On view now through 2027. Explore it all at hilliardartmuseum.org

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New installation in our Knokke gallery featuring a new work by Matthew Day Jackson.

“Nocturne with Bouquet”, 2026
wood, wood stain, polychrome laminated plywood, acrylic paint, oil paint, epoxy resin, linen, Formica, lead, wood glue
76.2 x 61 x 4.4 cm
30 x 24 x 1 3/4 in

Matthew Day Jackson (b. 1974) is an American artist whose multidisciplinary practice spans painting, sculpture, photography, collage and installation. Drawing on art history, science, the space race and the mythology of American progress, Jackson explores the complex relationship between human ambition, technological advancement and destruction. Through unexpected materials and striking imagery, his work often inhabits what he calls the “Horriful”—the uneasy space where beauty and horror coexist.

#maruanimercier #matthewdayjackson

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Can’t wait to kick off the season with you at the Hilliard.

Matthew Day Jackson: “Yesterday’s Tomorrow”

Jackson’s paintings, sculptures, and designs transform the gallery into a domestic space that explores how close we’ve come to a future earlier generations imagined.

Matthew Day Jackson, Swamp Scape, 2024. Courtesy of the artist. © Matthew Day Jackson. Photo by Genevieve Hanson.

Presented by the Emory Family

Tickets for the Fall Opening Preview is in bio.
Explore it all at hilliardartmuseum.org

Curtis Patterson: “Persistent Vision, Sculptures from 2011 – 2026”

A Shreveport native returns to Louisiana with fifteen years of bronze and steel sculpture drawn from African diasporic motifs and the rhythms of jazz.

Curtis Patterson, Monk’s Moods (Rocker Series), 2018. Courtesy of the artist and Laney Contemporary. © Curtis Patterson.

Presented by Kiki Frayard

“A Century in Focus: Images from Women Photographers of the 20th Century”
Selections from the Hilliard Permanent Collection

Rose Mandel, Untitled, c. 1950. Collection of the Hilliard Art Museum. Gift of The Museum of Modern Art, New York. © Rose Mandel. Image courtesy of The Museum of Modern Art, New York.

Explore the groundbreaking work of twenty women photographers whose images redefined visual storytelling and shaped the field of photography.

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Join celebrated artist Matthew Day Jackson for an exclusive gallery talk exploring his artwork, creative process, and fascination with mid-century domestic materials. This members-only experience offers a behind-the-scenes look at the ideas and inspirations shaping his work.

Space is limited - reserve your spot at link in bio today.

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