Five questions with Veronica Jackson
Get to know CCA alum Veronica Jackson (MA Visual & Critical Studies 2016).
Veronica Jackson. Courtesy of the artist.
Veronica Jackson makes connections across the disciplines of visual culture. As an artist, she records, interprets, and brings awareness to the complexities of how humans exist within and affect their social surroundings. As a recovering architect and interpretive designer, she engages with structural systems in both virtual and built environments. Her work lies at the intersection of visual art, architecture, and interpretive design, combining past professional disciplines, present experiences, and an accumulation of contemporary and historical research. Jackson’s multidisciplinary body of work is text-based, autobiographical, and responds to her gendered and racialized existence in America. She holds a BS in Architecture from University of Virginia and an MA in Visual and Critical Studies from California College of the Arts. She currently resides in the Blue Ridge Mountains of Central Virginia.
Veronica Jackson, BLACKTIVISTS. Courtesy of the artist.
1. What is your current practice/business?
Currently, I am focused on building a sustainable visual art practice that investigates the lives of Black women in contemporary and historical media. My work is often autobiographical and always grounded in research. These “archives” range from my personal family history, drawn from interviews with my mother and aunts, to research on the lives of 19th-century Black women, conducted at repositories such as the Library of Congress. I use text, familiar objects, and various materials in clever ways to broadcast Black women’s languages of invisibility, hypervisibility, devaluation (an exaggerated visibility subject to misidentification and mislabeling), and triumph. From felt-lined bulletin boards and hair to paper, glass, and extra-fine glitter, my artwork focuses on the portrayal, perception, and legacy of Black women in popular media. I proudly consider myself a public historian; my work educates people about unstudied Black women, as well as lesser-known aspects of Black womanhood in America. While I await being “discovered,” I occasionally engage in interpretive exhibition design projects to pay the bills.
“During my CCA journey, I learned the value of critically interrogating visual culture. As a result, I acknowledged the existence of stories within me that required further examination through visual expression.”
(MA Visual & Critical Studies 2016)
2. Why did you choose CCA?
A good friend and colleague suggested that I look into CCA’s Visual & Critical Studies program. I was intrigued by the curriculum and the critical thinking opportunities VCS offered. Unbeknownst to me at the time, the program gave me the foundation to create a visual art practice, which was not my original intent. I had entered the program in order to earn the credentials to teach museum design. During my CCA journey, I learned the value of critically interrogating visual culture. As a result, I acknowledged the existence of stories within me that required further examination through visual expression.
Veronica Jackson, BLACKTIVISTS. Left: paper, right: glass.
3. If you could share one piece of advice with current or future students, what would it be?
Put the phone down and engage with your environment with your physical senses. Absorb as much as you can, especially if it pushes you outside your comfort zone. Build connections with your peers; some will prove to be invaluable resources for personal and professional development.
Veronica Jackson, THAT’S POPS’S MONEY. Courtesy of the artist.
4. What's your secret to staying inspired and creative?
It starts with curiosity and then (because of the training I obtained at CCA's VCS program) it evolves into interrogating both the apparent and hidden connections within the subject of my curiosity. For example, I asked myself: How can I visualize my grandmother’s devalued labor in a way that intrigues, excites, and educates? My answer: I designed and fabricated 813 debossed and letterpress-printed timecards using hand-cut black paper, displayed across 12 wall panels, each measuring 48 by 96 inches.
5. What do you have coming up?
My current exhibition in Charlottesville runs through August 9, 2025. I also have a few upcoming artist talks and lectures. In the meantime, I'm applying to artist residencies and calls for artists.
