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

“Roxanne Jackson’s parade of ceramic sea creatures in Unknown Giants...bridges the gap between fantasia and reality through..a hybrid carnival and haunted house. Jackson is enamored of the bizarre…[But] maybe these are not monsters at all. Maybe they are just creatures who look like they shouldn’t belong — and in her world-building Jackson has made a place where they do.” HYPERALLERGIC: “Roxanne Jackson’s Fantasia Under the Sea” by Seph Rodney

“The storybook nature of Jackson’s work may appear inviting and romantic, but that outward appearance conceals a roiling unconscious — a different, darker, and more threatning tale fueled by mythology, feminism, and a surreal restaging or ordinary life.” SCULPTURE MAGAZINE: “Distorted Lore: A Conversation with Roxanne Jackson” by Kay Whitney

“Roxanne Jackson’s ceramic sculptures…function more like words within a larger narrative: together they form a sentence, a paragraph, a chapter, and ultimately an exhibition that unfolds as a complete mythological tale. It is a narrative filled with birth and death, destruction and resurrection, sacred objects and trash, violence and rapture. If this exhibition were a book, it would belong equally on the shelves of fantasy, horror, dystopian fiction, history, and magical realism.” CERAMICS NOW: “Roxanne Jackson: Ovum at The Pit, Los Angeles.”

“The animal magnetism of Roxanne Jackson’s ceramic sculptures upends aesthetic charm…With their split craniums of fantastical beasts, reptiles, and other creatures, her sculptures give vibrant life to an underworld.” BOMB MAGAZINE: Roxanne Jackson by Carolina Wheat: Ceramics that show that death is only a metaphor.”

“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

"Jackson’s works are resonant with the archetypes of Jung and Joseph Campbell, bear[ing] multiple meanings and associations. The [decapitated] heads…have origins in tropes that have circulated throughout the history of sculpture and literature. Jackson updates this imagery, bringing the archaic into the apocalyptic consciousness of the 21st century.” 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

“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.

"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