Deshawn Dumas

DESHAWN DUMAS

Anchor 16

Rodchenko Shot Laminated glass shot with standard police issued sidearm 39 × 23 in (each) 2018	Black Boy Fly Laminated glass shot with standard police issued sidearm 39 × 23 in 2018	Rorschach One Laminated glass (broken) 39 × 23 in 2018
The Corruption of Humanity Laminated glass shot with standard police issued sidearm 39 × 23 in 2018	Rorschach Two Laminated glass (broken) 39 × 23 in 2018	Holocene Extinction Installation
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) Thermoplastic and spray paint on wood 64 x 45 in (165.1 x 114.3 cm) 2017	Purple Rain Spray paint and glass on wood 37 x 17 2017
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) Spray paint and glass on wood 37 x 17 2017	Black Mirror (In White) Spray paint and glass on wood 31 x 18 in 2017
Art Official Age (For Prince) Mixed media on birch 67x 42 inches 2017	Till the summer in the city Plexiglass on wood 80 × 48 in (203.2 × 121.9 cm) 2015	CitizenFour Towards mass Enlightenme Plexiglass on wood 36 × 72 in (91.4 × 182.9 cm) 2015
To Lay Some Words On Every Word Plexiglass on wood 80 × 48 in (203.2 × 121.9 cm) 2015

Anchor 17

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.”