Uploaded March 2024 | Updated September 2026, 2 weeks ago
This piece from 2022 features vivid DayGlo-type fluorescent pink, blue, blue, and orange colors to catch the viewer’s attention. But the images are hard to discern, especially from close up, because they are fuzzy in appearance and the artworks are so large. They are printed in halftone, which means the paint is applied in a series of lines rather than solidly covering the surface. Faces in a crowd take shape hazily, as each image is printed in only one bright color with a series of thick and thin diagonal lines that are close enough to hint at the shapes but not fully render them.
Tomashi Jackson's "Day Glow (Backlash)" (2022) is on view in "Going Dark: The Contemporary Figure at the Edge of Visibility."
Designed for our blind and low-vision communities, listen to the complete audio on the Guggenheim Digital Guide, provided by Bloomberg Connects and generously supported by ORNELLAIA: gu.gg/3PozcJZ
This piece from 2022 features vivid DayGlo-type fluorescent pink, blue, blue, and orange colors to catch the viewer’s attention. But the images are hard to discern, especially from close up, because they are fuzzy in appearance and the artworks are so large. They are printed in halftone, which means the paint is applied in a series of lines rather than solidly covering the surface. Faces in a crowd take shape hazily, as each image is printed in only one bright color with a series of thick and thin diagonal lines that are close enough to hint at the shapes but not fully render them.
Tomashi Jackson's "Day Glow (Backlash)" (2022) is on view in "Going Dark: The Contemporary Figure at the Edge of Visibility."
Designed for our blind and low-vision communities, listen to the complete audio on the Guggenheim Digital Guide, provided by Bloomberg Connects and generously supported by ORNELLAIA: gu.gg/3PozcJZ
