Thomas Jackson

Goldsworthy creates temporary site specific sculptures in natural environments that exist primarily through photographic documentation, sharing Jackson's commitment to ephemeral outdoor installations that engage with landscape and natural materials.

Margolin constructs large scale kinetic wave sculptures using hundreds of identical repeated units arranged in geometric formations, echoing Jackson's fascination with swarm like patterns and the mathematical beauty of collective repetition.

Skoglund meticulously constructs surreal environments populated with hundreds of identical sculptural objects and then photographs the results, making the photograph the final artwork in a process directly parallel to Jackson's own practice.

Christo's monumental temporary environmental installations that exist as events documented through photography established a foundational model for the idea that ephemeral outdoor transformation can be a serious and complete artistic practice.

Weston's rigorous approach to formal composition and the treatment of natural subjects as vehicles for abstract geometric beauty informs Jackson's own highly controlled and aesthetically precise photographic sensibility in outdoor settings.

Kusama's obsessive use of repetition and pattern through thousands of identical dots and forms as a way of overwhelming and transforming space is a conceptual precedent for Jackson's own installations built from massive accumulations of a single object.