CONTACT — ROXANNE JACKSON

"Roxanne Jackson's dark comedy of a candlestick, in which a black taper rises from the index finger of a glazed ceramic hand — make a strong case that art, as Oppenheim herself put it, 'has to do with spirit, not with decoration.’" THE NEW YORKER: “Fur Cup” at Underdonk Gallery by Andrea K. Scott

“Roxanne Jackson’s ‘Wild Mineral’…suggests the sawed-in-half skull of a dangerous, mythical creature…demonstrating what can happen when clay becomes a vessel for pure imagination.” THE NEW YORK TIMES: “What To See In New York Art Galleries This Week” on the exhibition “Clay Today” at The Hole by Jillian Steinhauer

“Jackson is…magnificent in the craftiness of her craft…And the level of detail is gorgeous.” HYPERALLERGIC: “Roxanne Jackson’s Fantasia Under the Sea” by Seph Rodney

"Jackson's sculptures are brilliantly inventive: sinister, disturbing and hilarious in the same moment. By asking how we can reclaim monstrosity, Jackson's work becomes an explosive combination...extracting and exploiting the tissues that bind the sexual and the grotesque.” SCULPTURE MAGAZINE: "Roxanne Jackson" by Kay Whitney

"An alchemist of clay and color, Roxanne Jackson creates her feminist mythology of a watery world that beckons, enchants, and fascinates the viewer while flirting with folkloric fears." ARTLYST: “New York Gallery Notes Winter 2025” by Ilke Scobie

"Jackson’s ceramics tell stories of monsters, lovers, and debauchery. These are rituals and rites where the heat of both sex and violence burn. Animal entrails and ripe fruit glisten in the artist’s monumental Wicked Feast: a banquet table reminiscent of Renaissance wealth, abundant with decay and delicacies…As death then is rendered bloody, fibrous, and unavoidable through the clay’s marrow, we’re reminded not of our end but rather the radical possibilities of our day. Raise your glass and join the party.” CHICAGO READER: “Welcome to the Underworld” by A. Lepique

Photo Credit: Lauren Silberman 2024

“In the seam of the playfully profound and the gracefully grotesque, Jackson holds a space amidst the gloomy realities of the everyday.” METAL MAGAZINE: “Roxanne Jackson: The Vulnerable Beasts Tampering With Tradition” by Vanessa Murrell

“Roxanne Jackson’s ceramic sculptures are a world of animal personification and creature teachers, a weird cast of characters putting on a wild psychedelic play. Seductive, monstrous, humorous, punk, these works bat around dizzying ideas of what is beautiful and what is beastly, what is real and what is imagined, what is serious and what is simply, a joke.” Excerpt from the press release by Sarah Walko for Nature is A Whore: A Comedy & A Tragedy at The Hole, NYC. Read the full press release here.

“[Jackson’s] work awakens us to truly see the animal in ourselves, and it feels as if we have been split wide open with our inner secrets and innards laid out on pedestals on public display.” WHITEHOT MAGAZINE: “Roxanne Jackson’s Ceramics Personify the Duality in Us All” by Raina Mehler

“In Roxanne Jackson’s wicked ceramics, the boundaries between human and animal, woman and monster, and creation and destruction blur beneath a sea of glitter and gloriously mutated forms. Clay, a medium often associated with timeless beauty and a sense of fragility, here becomes something ferocious and chimerical. Jackson creates sculptures that subvert dominant ideas of femininity.” Catalog Excerpt for the exhibition “Friends and Friends of Friends,” at the Schloss Museum in Linz, Austria (September 30, 2020 - January 6, 2021).

"Roxanne Jackson’s latest exhibit Nature is a Whore: A Comedy & A Tragedy, an aptly titled show of dizzying and wild polarities...feels immediately bizarre and fantastical, featuring chicken feet, decapitated heads, sea shells, cakes, blood and other unexpected sculptures…[in] a layered, multivalent display of artistic prowess." Kelly Pau, COOL HUNTING,” Studio Visit: Ceramicist Roxanne Jackson — Exploring the Dizzying and Paradoxical Elements that Converge in the Artists’s Latest Show at NYC’s The Hole”

“Jackson’s ladies are fierce, reclaiming their true nature. Their heads are in metamorphosis, exposed or shielded, unidentifiable and archetypal…the glazed clay cracks the veneer of pristine allure and reveals the inside-out, making the secret into public knowledge.” by Sagi Refael, Towson University, Center for the Arts Gallery, EX-tend EX-cess: Metamorphosis in Clay, exhibition catalog

“[Jackson’s] work channels a late nineties-early aughts riot grrl moment that delights in fem aestetics, kitsch, and guitar-heavy music…a brief glance at the ceramic centerpieces ooze femininity and power, reflecting the dominant strand of feminism at the time — women owning their sexual desire as a means of empowerment…[Her work is] loud, powerful and even a bit frightening.” Excerpt by Paddy Johnson, for the catalog essay for “SLAYER” an online exhibition at Flecker Gallery. View full SLAYER catalog HERE

"The most memorable candle holder we've come across in recent memory, this seven-foot-tall tour de force sees the wryly funny New York sculptor stack her signature amphoras adorned with severed witch parts and a funfetti cake, all crowned with an iridescent cockatoo." SURFACE MAGAZINE: “Our Favorite Moments at Design Miami 2022” by Ryan Waddoups

“[Jackson’s] work comments on the way that women have been seen as other — portrayed in various grotesque, archetypal roles such as vampire, whore, mermaid, model or monster…” CERAMICS MONTHLY: “The Body, The Object, The Other,” by Kay Whitney

“Jackson’s work reminds us we are all travelers, born into a pilgrimage, here for one iridescent flash of a moment wearing belief’s wide skirt. Throw down the challenge to everyday life. Walk stright into the exquisite fray, slaying fear.” ART PULSE: “Roxanne Jackson: High Priestess of the Fray,” by Sarah Walko