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Jackson’s signs, sculptures, gouaches, and drawings use common, everyday “signatureless” styles to let loose the grandiose morality within the picturesque languages and visuals of advertising. Her work is a bitterly humorous send-up of the demands and promises commercial representations make on behalf of goods, be they detergent, food, or real estate. Long focusing her energies on a series of meticulously hand-tooled leather reworkings of both store advertising and real estate development signage, Jackson replaces the found text with disdainful, mistrustful and self-deprecating thoughts, which the language of sales strives to repress. What remains is the epic longing and promissory nature of the address.

In making her sculpture from a material – hand-tooled leather – within an artisanal tradition, Jackson pours untold amounts of labor into her objects in order to create a surface that viscerally affects the viewer. By adding an obsessive, seemingly incongruous detailing into the overall copied designs, Jackson’s signs do not support the perceived structure of the originals à la Pop Art style celebrations of quotidian commercialism, nor are they slick appropriations of commercial language. Crafting the signs in leather reveals, in a painfully physical manner, the messages as commodified dreams stamped on the hides of animals.