More than any other artist of his time, Richard Jackson has focused his attention on the radical expansion of painting. The American artist pushes the formal boundaries of the picturesque and creates situations, which link the application of the paint through the use of machines to its processual aspect. For the first time, the SCHIRN is assembling five of his altogether twelve characteristic Rooms―room installations based on the principle of automated painting. Some of them are walk-in installations, while others can be viewed only through windows or peepholes.
Jackson combines critical commentaries on painting with social contexts, pairing them with provocative wit and ambiguities, as well as references to iconic works by artists such as Marcel Duchamp, Jasper Johns, and Robert Rauschenberg. Inside the rooms, comic-like figures, animals, or objects become the protagonists in a unique process―air compressors and pumps cause rich colors to flow through tubes and funnels, through ears, mouths, and other body orifices and spread them across the floor, walls, furnishings, and the protagonists themselves. The thematic rooms document a painting process which is detached from the artist and expands into the spatial. Visitors become the investigators of the previous spectacular painting act and voyeurs of bizarre scenarios.