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Francks F Deceus
Brooklyn , NY



ARTIST STATEMENT: As a Haitian immigrant–or “refugee,” as I was sometimes referred to while growing up in Brooklyn during the 1980s – it was difficult to maintain social and cultural ties to more than one place at a time. This created a constant struggle with identity and acceptance. My current body of work revisits this struggle, with an eye to revealing both my life-long dialog with African American culture and the contemporary demands of a post-civil rights era. Despite my Haitian nationality, I am too often confronted by, and subjugated to, harsh scrutiny solely based on complexion, while polarizing my image and marginalizing its complex inner value. In one series of works, a hooded male figure is wrapped in a fire hose and is being propelled in random directions. The imagery in this set of works is both deliberately dispossessing and amusingly playful almost in equal measures, hence the title “Mumbo Jumbo.” The similarly titled novel by author Ishmael Reed inspires the series, “Mumbo Jumbo.” In the novel, as in this collection of works, Mr. Reed attempts to capture the complexities of the African American identity and how it is affronted and thrown askew by external pressures. Relatedly, I also seek to explore how commonplace objects can be re-loaded with an entirely different set of perceptions. This re-defining of ordinary, everyday items is based solely on the context within which such objects are placed. For example, in various pieces from this collection, it is interesting to note how the placing of a construction cone (in an otherwise innocuous social setting), can invoke an immediate sense of danger and urgency in the viewer. Against certain backdrops, hysteria has become the new normal when confronting and interacting with a minority population. Although hefty in terms of subject matter and pervasive in its relevance to our everyday lives, my goal in this work and the themes it seeks to explore, is to create a platform for meaningful discourse in hopes of fostering a state of collectivity and consciousness.
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ARTIST RESUME:


Francks F Deceus

b. Cap-Haïtien, Haiti

EDUCA TION

2002 Aljira Center for Contemporary Art, Newark, NJ
1996 Bob Blackburn Studio, New York, NY (Printmaking) 1994 Long Island University, Brooklyn, NY (B.A. Sociology)

SELECTED SOLO EXHIBITIONS

2006 Salina Gallery, New York, NY
2005 Tilford Art Group, Los Angeles, CA
1997 Brooklyn Public Library, Brooklyn, NY
1994 Medgar Evers College Library, Brooklyn, NY 1992 Manhattanville College, Purchase, NY

SELECTED GROUP EXHIBITIONS

2017 5 Miles Gallery, Brooklyn, NY
2016 RUSH Arts Philadelphia PA
2016 PRIZM Art Fair Miami, FL
2016 Kenkeleba Art Gallery, New York, NY 2015 PRIZM Art Fair Miami, FL
2015 Andrew Freedman Complex Bronx, NY
2008 Hampton University Museum, Hampton, VA
2006 Mocada Museum, Brooklyn, NY
2004 Brooklyn Museum of Art, Brooklyn, NY
2003 The National Civil Rights Museum, Memphis, TN
2002 Aljira Center for Contemporary Art, Newark, NJ
2000 Mocada Museum, Brooklyn, NY
1999 UFA Gallery, New York, NY
1998 The Schomberg Center for Cultural Research, New York, NY 1998 Cinque Gallery, Brooklyn, NY
1998 Corridor Gallery, Brooklyn, NY
1997 La Mama Art Gallery, New York, NY
1997 Jamaica Arts Center, Queens, NY
1993 Selena Gallery at Long Island Univ., Brooklyn, NY
PUBLIC COLLECTIONS
2002 Permanent Collection, Xavier University, New Orleans, LA 1998 Permanent Collection, Schomberg Center, New York, NY


COMMISSIONS
1997 Medgar Evers College, Brooklyn, NY
1994 Brooklyn Academy of Music, Brooklyn, NY

SELECTED BIBLIOGRAPHY

Books
Dantzic, Cynthia Maris 100 New York Painters. New York, NY.: Schiffer Publishing, 2006.
Eli, Quinn (Editor) African -American Wisdom. Philadelphia, PA.: Courage Books, 2003
Magazine & Newspaper Articles
Lockhart, Leslie. "Haitian Refuge" Upscale (August 2004): 116-117.
Richardson, Alice. "For Deceus ‘Wheelbarrow People’ is a Recollection of his Childhood” New York Amsterdam News (April 1997).
Shabkie . "5 Emerging Artists with Future Vision" New York Newsday (May 1997). International Review of African American Art (Volume 14, Number 4): 60. International Review of African American Art (Volume 17, Number 4): 63-64.




 








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