The Urpflanze (Part 2)

Black and white doodle illustration by Melanie Jackson
Melanie Jackson, The Ur-Phenomenon
Melanie Jackson, The Ur-Phenomenon Cover Image
Melanie Jackson, The Ur-Phenomenon Cover Image
Gallery at Flat Time House filled with Melanie's sculptures.
Melanie Jackson, The Urpflanze (Part 2), FTHo Beanstalk
Bookcase at Flat Time House, with hidden carrots.
Melanie Jackson, The Urpflanze (Part 2), FTHo Book Case Carrots
Melanie Jackson, The Urpflanze (Part 2), FTHo Cabbages
Melanie Jackson, The Urpflanze (Part 2), FTHo Cabbages
Melanie Jackson, The Urpflanze (Part 2), FTHo crystal lightbox
Melanie Jackson, The Urpflanze (Part 2), FTHo crystal lightbox
Gallery at Flat Time House filled with Melanie's sculptures.
Melanie Jackson, The Urpflanze (Part 2), FTHo front room
Illustrated image of a multi-coloured orb floating above men lying in a surreal landscape.
Melanie Jackson, The Urpflanze (Part 2), still

A new commissioned body of work and installation by Melanie Jackson, shown in Transformism at John Hansard Gallery, University of Southampton in January 2013, and as a solo show at Flat-Time House, London, in March 2013.

In a series of moving image works and ceramic sculptures, Melanie Jackson continues her ongoing investigation into mutability and transformation, which takes its lead from Goethe’s concept of an imaginary primal plant, the Urpflanze, that contained coiled up within it the potential to unfurl all possible future forms. Contemporary science likewise imagines the potential to grow or print any form we can envisage, by recasting physical, chemical and biological function as an engineering substrate that can be programmed into being. These emerging technologies present new possibilities for the instrumentalisation of life on a previously unimagined scale.

In March 2013, Jackson's multifaceted work was installed throughout the ground floor of Flat Time House, the former home and studio of artist John Latham (1921-2006).

In the eighteenth century, the development of sophisticated techniques of ceramic production signified a victory of chemistry, culture and capital over formlessness. It pushed the capacity of the material to accommodate highly detailed representations, to radiate colour and sheen, to perform. Like clay, liquid crystals also have a visceral biological and mineral morphology that can collapse into formlessness, whilst harbouring the potential to assume (or emit the image of) any form. The mastery of the material is played out in a desire for the real in high definition, and a longing for the appearance of unknown and fantastical forms.

Jackson’s exhibition extends fairytale themes of absurd disruptions in vegetal scale, from Zola's ‘revolutionary’ carrot to the fantasies of remediation that science may have in store for us. The work begins in the botanical garden and leads us to the laboratory, from the clay pits to the factory floor, from its own animated voxels to the interior of the screen, and the forms and processes of its own production.

Melanie Jackson has collaborated with writer Esther Leslie on the production of a text that has informed the work and a publication that will be distributed as part of the exhibition.

In her essay for the exhibition guide, Isobel Harbison describes: “Jackson’s is an expansive, ambitious and intuitive work not easily reducible to cursory description. Her attention to the illusory surface textures of protean forms is not solely attentive to liquid crystals but extends metaphorically to other social and scientific developments (a fictional Jack-and-the-Beanstalk becomes a modern genetic scientist, or crystals self-organise into a palace whose display function changes consumer society forever). Perhaps most interestingly, her work carries within it a reflection on the new nature and task of the contemporary artist. Jackson’s real enquiry seems to be about the modified face of representative sculpture in the digital age, from Greek mythology’s morphology to natural biology, and from the produce of the clay factory floor to the process of 3d printing.Significantly, her sculptural inquiry is brought forward in video in conjunction with three-dimensional form embodying both kinds of contemporary physical encounter, now as often on screen as in the flesh.”


Melanie Jackson inhabits different tropes of art making to interrogate possibilities of representation against the engaged practices of the world. She is interested in ways in which thought and affect is conducted through the material, and much of her work has explored this against the context of work, production and the flow of international capital.  She is currently investigating the relationships between nature and technology through a series of experiments with fauna and flora, and the technologies available to her. Melanie is a lecturer at Slade School of Fine Art, her solo exhibitions include The Urpflanze (Part 1), The Drawing Room, London (2010), Road Angel, Arnolfini, Bristol (2007), Made In China, Matt’s Gallery, London (2005).  She won the Jerwood Drawing Prize in 2007.


Melanie Jackson's commission has been supported by a Wellcome Trust Arts Award and the Slade School of Fine Art. The exhibition is supported by Arts Council England.

Website links

Melanie Jackson

Flat Time House