BLUM is pleased to announce the representation of Oakland-based artist Oliver Lee Jackson on the occasion of Machines for the Spirit, Jackson’s premier solo exhibition with the gallery and his first in Los Angeles since 1982. Jackson will be co-represented with Andrew Kreps Gallery.

Jackson’s paintings combine the emotive gestures of abstraction with the artist’s signature figural forms. Jackson achieves his characteristic abstract marks through a series of highly calculated and repeatable circumstances that have come to comprise his process. He lays the canvas or panel flat so as to approach the picture plane equally from all sides; this condition also permits Jackson to achieve specific, desired effects with the paint. Leaving moments of reprieve in his compositions, he consistently exposes his initial markings on the canvas as essential elements of the work, allowing the viewer a glimpse into every aspect of the structure of his finished painting. 

As the exhibition title Machines for the Spirit implies, Jackson’s oil-based paintings act as mechanisms that are meant to prompt an experience in their viewer. The artist states that, like a machine, every part of a composition must work together to function in unison. As Jackson loads each composition with dynamic interplays between figure and field, the artist’s work provokes a process of leisurely and assiduous looking as the eye takes in a sense of space, illumination, figural forms, and the abstract marks signaling the artist’s hand. Working at a scale that encourages onlookers to imagine entering the work, Jackson prefers this intimate visual reciprocity between individual and composition to some of art’s more esoteric quandaries, saying of the latter, “They are trying to make a process that is dynamic stand still.”

The earliest of the twenty paintings in Machines for the Spirit was made in 1983, although the majority of the exhibition represents Jackson’s new works. Consistent themes are found throughout the artist’s expansive oeuvre, including the recurrent figure of the saxophone player which can be seen in Painting (7.14.23), 2023 (2023). This imagery is representational of Jackson’s close associations with musicians throughout his life, as well as a deep love for jazz that the artist developed while growing up during what is now considered a cultural renaissance for the American Midwest. The likeness of shoes also recurs in Jackson’s paintings—notably appearing in Painting (12.4.23), 2023 (2023)—as a way of indicating to the viewer that they are stepping into another world, thus harking back to the exhibition’s title and the transportive impact of the artist’s work.