“I drew this as the Blue Angels fly overhead.” —Matthew Day Jackson

 

Matthew Day Jackson donated this one-of-a-kind hand drawing created on a vintage sheet of Fairchild Camera and Instrument letterhead. At the top, the artist has indicated that the drawing was created during one of the Blue Angel flyover events, which were organized in cities around the US to honor essential workers and healthcare providers during the worst days (so far) of the pandemic. Measuring standard US letter size, this work is signed by the artist and offered courtesy of The Future Perfect.

 

Jackson is an American artist whose multifaceted practice encompasses sculpture, painting, collage, photography, drawing, video, performance, and installation. Born in Panorama City, California, and currently living and working on the East Coast, his art grapples with big ideas like the evolution of human thought, the fatal attraction of the frontier, and the faith that humans place in technological advancement. In particular, his work addresses the myth of the American Dream, exploring the forces of creation, growth, transcendence, and death through visions of its failed utopia. He has been represented by Hauser & Wirth since 2010.

 

The first iterations of Jackson's floral paintings were shown at Hauser & Wirth London in Still Life and the Reclining Nude (2018), an exhibition contemplating artistic traditions and the history of colonization. These still life “paintings” are direct representations of Jan Brueghel the Elder’s and Younger’s genre-defining series of flower paintings from the 16th and 17th centuries, made during a time of Dutch colonial expansion and exploitation. The significance of these works for the artist is their simultaneously beguiling and prosaic qualities; they are both an exuberant expression of nature’s bounty and a visual manifestation of power and wealth. While the era was one of burgeoning scientific knowledge, Jackson signals the pitfalls of the ceaseless misuse and abuse of the natural world. This concern ties into the American environmental movement and issues of sustainability that have been explored in Jackson’s previous works. The works are made out of meticulously cut and assembled elements that include Formica, oil paint, and poured lead.

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Matthew Day Jackson Letterhead Drawing #9 $8,000

“I drew this as the Blue Angels fly overhead.” —Matthew Day Jackson

 

Matthew Day Jackson donated this one-of-a-kind hand drawing created on a vintage sheet of Fairchild Camera and Instrument letterhead. At the top, the artist has indicated that the drawing was created during one of the Blue Angel flyover events, which were organized in cities around the US to honor essential workers and healthcare providers during the worst days (so far) of the pandemic. Measuring standard US letter size, this work is signed by the artist and offered courtesy of The Future Perfect.

 

Jackson is an American artist whose multifaceted practice encompasses sculpture, painting, collage, photography, drawing, video, performance, and installation. Born in Panorama City, California, and currently living and working on the East Coast, his art grapples with big ideas like the evolution of human thought, the fatal attraction of the frontier, and the faith that humans place in technological advancement. In particular, his work addresses the myth of the American Dream, exploring the forces of creation, growth, transcendence, and death through visions of its failed utopia. He has been represented by Hauser & Wirth since 2010.

 

The first iterations of Jackson's floral paintings were shown at Hauser & Wirth London in Still Life and the Reclining Nude (2018), an exhibition contemplating artistic traditions and the history of colonization. These still life “paintings” are direct representations of Jan Brueghel the Elder’s and Younger’s genre-defining series of flower paintings from the 16th and 17th centuries, made during a time of Dutch colonial expansion and exploitation. The significance of these works for the artist is their simultaneously beguiling and prosaic qualities; they are both an exuberant expression of nature’s bounty and a visual manifestation of power and wealth. While the era was one of burgeoning scientific knowledge, Jackson signals the pitfalls of the ceaseless misuse and abuse of the natural world. This concern ties into the American environmental movement and issues of sustainability that have been explored in Jackson’s previous works. The works are made out of meticulously cut and assembled elements that include Formica, oil paint, and poured lead.

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