Jackson’s See Gate series exist as both portals to his narrative world as well as sites for the exploration of color interaction. They explore the emergence of form that results from the interference of various systems and information. This process of superimposition serves as a device to think through the multi-layered and composite nature of our physical, social, historical, and political worlds. A near impenetrable field of colors and textures, the "See Gate" series directly calls for engagement with an audience, eye contact in a sense, but they simultaneously resist direct or easy approaches to visual experience. Engaged in ideas around speculative storytelling and the fantastic, Jackson considers how the methods of worldbuilding have opened new ways to think about the formal and conceptual conditions of image-making. Through the process of making this body of work, Jackson began the development of his own color theory, “Color Theory for Ghosts,” in which he thinks about the social and conceptual physics of color as it relates to the characters and the environment. “Color Theory for Ghosts” is a temperature-based, secondary, and tertiary-focused system in which hue is haunted or possessed by a spectral primary in an adjacent color. Jackson states that, “this entanglement we live in is not simply about superimposition of layered information, but there are knots and loops in the wave form on top of one another. In other other words, it’s less like stacked window screens or grids and more like spider webs or the venous system. Also the screen doesn’t have a clue what to do with the color, go see in person".