Red over morning sea, 2021
Acrylic
Suzanne Jackson’s suspended paintings push the boundaries of material and surface, built entirely from layers of acrylic, gel medium, detritus, and natural objects, like seeds from her garden in Savannah, Georgia. Since the 1960s, Jackson has experimented with acrylic, treating it not just as paint but as structure—“an armature for itself.” She avoids calling the works collages, emphasizing that everything within them is a form of paint, layered and suspended in space. These works are dynamic and malleable, evolving over time like living things. Up close, their iridescent surfaces create afterimages, lingering visually and mentally even after the viewer looks away.