Reverie- 2024- 2025
Jackson aims for her landscapes to both invite the viewer inside and remind them they cannot enter their space. Reflecting on the nature of 2D image, and its physical relationship to the audience, as a place to be looked at rather than experienced. Her most recent works explore landscape through a more personal and nostalgic lens, looking at video games like ‘Shelter’, Windows’ desktop images and her childhood memories of nature. Creating scenes which capture the feeling of looking out into the world, whilst deep in thought. These works aim to showcase the different lens’ we see landscape through.
Created by covering a spatial underpainting, this piece focuses on a landscape with various depths. It’s name Jasmine taken from both the artists friend @jasminehohbeinart and the flower, referencing the walks through nature the pair have taken. As well as, the intense white light in the piece. This piece aims to capture the childlike wonder of imagining tales of magic.
‘Jasmine’, Acrylic on Board, 60.5 x 60.5 x 1.8cm, 2025
‘Don’t Look into the Sun’, Acrylic on Board, 40 x 40.3 x 1.8cm, 2025
This piece capture sunlight refracting through clouds. But through a phone’s lens. Emphasising the blue quality and darkness the phone creates rather than the white quality of the reality. This allows the subtlety in the colour change to become more dramatic within the piece. With the title referencing the damaging effects of looking without the camera.
‘Clouded’, Acrylic on Board, 56 x 56 x 1.8cm, 2025
‘Clouded’, simply illustrates the feeling of sitting and thinking, looking out into the night. Mixing pigments to there darkest shades to allow for subtle colour changes in the foreground.
‘The Calm Comes With the Storm’, Acrylic on Board, 56 x 56 x 1.8cm, 2025
This piece captures the childlike wonder of experiencing a storm crash across the rocks as you sit amongst them. The serene colours, combined with a flattened landscape create a painting which showcases the chaos in a calming way. Whilst the exaggerated movement of the piece brings life to the ocean itself.
Referencing the Windows 7 desktop image ‘Harmony’, this piece creates a landscape which sits upon the 2D, whilst venturing inside it. Using the blue void as a jumping point, the landscape which emerges contrasts its emptiness with vibrant plant life. The piece recreates the anticipation from waiting for the computer to load as a child.
‘Windows II’, Acrylic on Board, 61 x 61 x 1.8cm, 2025
‘Screentime/ Walled In’, Acrylic on Board, 56 x 56 x 1.8cm, 2025
This piece plays with the 2D nature of painting, with a blank projection being plastered over a depiction of a brick wall. Playing with the idea of falsity within the screen and within painting. The blue overlay creating more depth within the bricks themselves.
Inspired by long commutes through the Scottish Coast, this piece reflects the view from a double decker bus. The change in perspective and use of line capture the feeling of gazing down into a landscape whilst sitting outside of it. With the sky acting as a dreamlike staircase inviting the viewer inside. The line itself and the red motif representing the reflection of the lights inside the bus hitting off the back window and towards the front. Overlaying the image without lighting it up.
‘Windows’, Acrylic on Board, 101 x 101 x 1.8cm, 2025
‘Title Page’, Acrylic on Board, 60.6 x 26 x 1.8cm, 2025
Inspired by the video game ‘Shelter’, this cave like environment looks out into the sky, past the trees. Thin acrylic is layered on the wood to create a naturally warm interior, whilst thick white based blues are used to block the outside. With the contrast creating a portal effect the scene is the perfect place for a ‘Title Page’.
Based on being able to see both her hair and both angles of her nose whilst painting. This piece overlaps these sights with the view of a window. Gazing into the sky.
‘Point of View’, Acrylic on Board, 40.5 x 40.2 x 1.8cm, 2025
‘5 Paces Behind’, Acrylic on unstretched Canvas, 27.5 x 34 cm, 2025
This piece is inspired by a photo taken walking back after a night out. Staying with a couple and walking behind them, this piece exaggerates the alone feeling. Using the unmounted canvas to and burn-like staining to create foggy memory effect.
Inspired by the mirror of a closed and empty bar, this piece plays with the relationship between the surface of the painting and the space it depicts. Painted on a used printing table, with the ink beneath shining through the paint, the lights appear flatly on top of the space. Repeating the ‘loading circle’ motif used in previous works three times, creates a plane in-between the viewer, and the reflected space, with the lights emphasising this, lighting up the plane but not the space itself.
‘Mirror’, Acrylic and ink on Canvas Board, 153.5 x 77.5 x 2cm, 2025
‘Explore’, Acrylic on Board, 40.5 x 81 x 1.8cm, 2025
This piece captures the way digital space can separate the viewer from an objective reality. Using 3 layering techniques to build the landscape, the window replicates Instagrams explore page. With the monochromatic scene contrasting the window sill, the landscape uses thick layers of acrylic to create a shiny plastic effect. Giving the scene itself a screen-like quality.
‘Fabrication’, Acrylic on Board, 122 x 61 x 1.8cm, 2025
‘Onward’, Acrylic on Board, 41 x 41 x 1.8cm, 2024
This piece is in direct response to the artists studio @the_mill_dundee . Inspired by the mill itself, 3D modelling software, and the game ‘The Stanley Parable’, this piece references the act of building a space within a painting. Leading to a vision of ‘Onward’, which can be gazed upon through only one of the windows, a second fabricated space.