The main gallery holds the bulk of the show, and each work feeds off the others in an extension of the principle behind found object contextualization. Skulls and skeletons feature prominently in several places, as do astronomical figures. The space conveys the sense of some aftermath to a catastrophic event. Another found skeleton -- this time skull-less -- lies atop the dented roof of a car. A thick wooden plank pins the neck of a dangling spacesuit constructed from surplus army blankets. One sculpture is simply a sheet of dented metal, painted and placed to seem part of the gallery wall. Jackson seems fascinated with lingering impacts. Vestiges of destruction are reborn in their representation.

A smaller gallery houses three large scale reworkings of Goya's Disasters of War series, rendered in vivid neon paint over carefully laid fragments of charred wood. The scorched background fits the tone of the original nineteenth century sketches, while brightly highlighted figures leap out from the ash in striking contrast. Here Jackson seems conscious of time's relentless progression in spite of individual suffering, past atrocity, through acts brave or cruel. These reimaginings transcend Goya's efforts at graphic realism, creating life through the use of color and suggestion of movement in the positioning of wood pieces out of the death and violence depicted long ago.

As living and thinking increasingly adapt to the incessant blast of information blaring at our senses, artists like Jackson have developed an effective ability to isolate particular parts of the cacophony and arrange them in newly expressive combinations. Choosing symbols of decay and death, he has created sculptures suggestive of a world greater than the human condition, but of which humanity is still nonetheless a significant part. Jackson seems to have an awareness of the world as objects with meaning in context of the events that have collided them into other objects, and explores the implication of these ever changing, ever recombining symbols in relation to one another. In an era when possibility seems on the verge of exhaustion and hope shrinks, Terranuat looks not to new discoveries for inspiration, but rather connections between that which is already known.