Los Angeles

View of “Patrick Jackson,” 2013.

View of “Patrick Jackson,” 2013.

Patrick Jackson

François Ghebaly

View of “Patrick Jackson,” 2013.

The best things tend to be hidden underground: The tiered, tripartite structure that Patrick Jackson created for his latest show (the last at the gallery’s Culver City location) prompted a Freudian read in which the upstairs hovered as the superego, the street level lined up with the ego, and the id lay repressed below in the cellar. Jackson’s layered space paralleled the stratified logic of his previous “Tchotchke Stacks,” 2009–10, insinuating an ornamental role for viewers to play in relation to the art.

The solitary figure of a teenage boy, Black Statue (all works 2013), was stationed on the balcony overlooking the exhibition below like a lone sentinel; vigilance stood in for personal conscience. With hair, jeans, sweatshirt, and the exposed “skin” of his face, hands, and bare feet all monochromatically black (matching the floor), the sculpture was an undead, ghostly presence.

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