Bio
Jackson Martin was born and raised on a commune in rural Tennessee. At age 10 he moved to Nashville, TN where he graduated from Hume Fogg Academic High School in 1997. He received his BFA from Middle Tennessee State University in 2004 and earned his MFA from the Rinehart School of Sculpture at the Maryland Institute College of Art in 2007. Martin has exhibited his work nationally at venues such as Flashpoint in Washington, DC, Sculpture Key West and the Urban Institute for Contemporary Arts in Grand Rapids, MI. Last year Martin's sculpture was chosen by the Frederik Meijer Gardens & Sculpture Park to be installed in downtown Grand Rapids for ArtPrize 2010. In addition, he was invited to install one of his works in the renowned sculpture park at Pratt Institute in Brooklyn, NY. Most recently his work was chosen by Elisabeth Sussman of the Whitney Museum for a group exhibition at Viridian Artists in NYC. He has been featured in the itinerary section of Sculpture magazine in 2008 and 2009. He was also an artist in residence at the Vermont Studio Center in 2008 and earlier this year. Martin lives in Charleston, SC where he teaches at the College of Charleston and works for the Halsey Institute of Contemporary Art.
Artist Statement
Current Statement
My recent work stems from a fascination with my own three-piece wedding suit. After literally deconstructing (completely unstitching) the suit, I now use the resulting pieces as templates in order to create meticulous replicas made from alternate media. Ranging from burlap and tarp to quilted moving blankets, I’m interested in the way in which these nontraditional materials portray such a recognized tradition. I’m particularly concerned with raising questions of male identity politics and collapsing the distinction between traditional American male and traditional American female roles. The photographic situations I compose serve to augment the actual suits, as well as further subvert these conventions. To view the Collapse series, click HERE, HERE & HERE.
Previous Statement
At the core of my work is a collaboration between the natural and the cultural. This meeting begins with my deliberate and calculated manipulation of industrial materials. I incorporate the permanence of steel, wood, glass and plastic, in order to represent my human propensity towards order and control. On the other side of this convergence exist the elements that are continually beyond my authority. I employ ephemeral materials, such as plants, soil, water and light that represent the uncertain and unpredictable world around me. With these two material extremes, I construct frames, containers and enclosures in which the cultural elements attempt to hold and embrace the natural. Ultimately, these constructed situations are intended as portraits of human communication and interaction.
Resumé