DESHAWN DUMAS

 
Rodchenko Shot

Rodchenko Shot

Laminated glass shot with standard police issued sidearm 39 × 23 in (each) 2018

Black Boy Fly

Black Boy Fly

Laminated glass shot with standard police issued sidearm 39 × 23 in 2018

Rorschach One

Rorschach One

Laminated glass (broken) 39 × 23 in 2018

The Corruption of Humanity

The Corruption of Humanity

Laminated glass shot with standard police issued sidearm 39 × 23 in 2018

Rorschach Two

Rorschach Two

Laminated glass (broken) 39 × 23 in 2018

Holocene Extinction Installation

Holocene Extinction Installation

Hold In Mind

Hold In Mind

Thermoplastic and spray paint on wood 67 x 42 in (170.2 x 106.7 cm) 2017

Once Upon the Amazon (Ayahuasca)

Once Upon the Amazon (Ayahuasca)

Thermoplastic and spray paint on wood 64 x 45 in (165.1 x 114.3 cm) 2017

Purple Rain

Purple Rain

Spray paint and glass on wood 37 x 17 2017

Now he hates the blue sky 'cause that's when Drones Strike

Now he hates the blue sky 'cause that's when Drones Strike

Spray paint, chain link, and glass on wood 37 x 17 2017

Never Forget (Our Global War of Terror)

Never Forget (Our Global War of Terror)

Spray paint and glass on wood 37 x 17 2017

Black Mirror (In White)

Black Mirror (In White)

Spray paint and glass on wood 31 x 18 in 2017

Art Official Age (For Prince)

Art Official Age (For Prince)

Mixed media on birch 67x 42 inches 2017

Till the summer in the city

Till the summer in the city

Plexiglass on wood 80 × 48 in (203.2 × 121.9 cm) 2015

CitizenFour Towards mass Enlightenme

CitizenFour Towards mass Enlightenme

Plexiglass on wood 36 × 72 in (91.4 × 182.9 cm) 2015

To Lay Some Words On Every Word

To Lay Some Words On Every Word

Plexiglass on wood 80 × 48 in (203.2 × 121.9 cm) 2015

 

 

DESHAWN DUMAS

 

1985 born in Elkhart, Indiana

Lives and works in Brooklyn, New York

 

DeShawn Dumas materializes wall works from various remnants of “heavy industry”: chain link fences, steel frames, spray paint, plexiglass, and more.  The point is the use of materials that function socially. Obtaining these materials allows the artist to explore the relationship between handicraft and art’s “relationship to the machine”. Deeply inspired by energy, the works are meant to move the viewer; that is, to create a spatial experience and affective relations. As the artist puts it himself, “My abstract paintings take destruction as a mode of production — methods of  repetitive dishonor include burning, tearing, shooting, and smashing.  A rupture and the impossibility of restoring what has been breached. These self-described tablets are encased behind panels of glass. Their glimmering surface cast the fragile image of the viewer and surrounding environment. A drive towards increasingly terrifying modes of abstraction  is not unrelated to my  experience of Western democracy and it’s production of infinite desire, utopic inequality,  mandatory visibility and unimaginable catastrophes to come.”

 
HOLOCENE EXTINCTION
June 22 - August 5, 2017

IN THE CLOUD

June 25th - August 28th, 2015

 

'HOLOCENE EXTINCTION' REVIEWED

Reviewed in Artcritical by John Mendelsohn

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