One may recall the gestural, calligraphic nature of Franz Klein and the materiality of the surfaces
created by Antoni Tàpies, yet the experience of viewing a work by Herb Jackson is singular. The
frequently jagged forms and broken surfaces somehow juxtapose quiet shape and flow to speak of
relationship rather than destruction. Influenced in his formative years by late Byzantine icons as
well as the abstract expressionists, we see that Jackson’s canvases pit gesture against iconic
surface and speak of organic relationship rather than forced and artificial perspective.
