The ambitious sculptures and paintings of Matthew Day Jackson explore an interest in the ways our bodies limit and control experience. He connects the impact of direct lived experience and knowledge of recent historical and political actions to the construction of the body and psyche. Jackson has made many works using the notion of a self-portrait to measure our relationship with the world and the history that constructs us. His practice encompasses references that range from Old Masters to 21st century technology. By doing so, he mixes familiar iconography with an alienating feeling of desolation and ‘the horriful’ - a term the artist uses to reference something both beautiful and horrifying. Works such as Hauta, 2012, Lifeline, 2010, and Myself Dead at 35, 2009, embody the belief that every action has the potential to create meaning, but will ultimately become meaningless in the progression of time.