Archived Article by Tanya Perez-Brennan
Read the article on Overstreet Ducasse in Florida Times Union written by Tanya Perez-Brennan.
posted by floreada targets at 11:35 AM
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Friday, April 22, 2011
Read the article on Overstreet Ducasse in Florida Times Union written by Tanya Perez-Brennan.
Upcoming Shows
Karpeles Manuscript Museum (May to July)
101 West 1st Street
Jacksonville, Florida 32209
Grotto Wine Bar (May to July)
2012 San Marco Blvd
Jacksonville, Florida 32205
Burrito Gallery (August to October)
21 East Adams Street
Jacksonville, Florida 32202
posted by floreada targets at 11:11 AM
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Where To See My Art
The Grotto (San Marco)
2012 San Marco Boulevard
904 398 0726
7 paintings
Ritz Theatre and Museum (DownTown)
829 Davis Street
904 632 5555
3 paintings
Burrito Gallery (DownTown)
21 East Adam Street
1 paiting
Haydon Burns Library (DownTown)
122 North Ocean Street
6 paintings
On Window Display
Please call 904 563 3190 for entrance
2012 San Marco Boulevard
904 398 0726
7 paintings
Ritz Theatre and Museum (DownTown)
829 Davis Street
904 632 5555
3 paintings
Burrito Gallery (DownTown)
21 East Adam Street
1 paiting
Haydon Burns Library (DownTown)
122 North Ocean Street
6 paintings
On Window Display
Please call 904 563 3190 for entrance
You can see some of my work at the Library every 1st Wednesday Art Walk also
Three Layers (Springfield)
1602 Walnut
904 3559791
3 paintings
Also check out my links for more images and information:
www.flickr.com/photos/overstreetd
www.facebook.com/profile.php?id=1247272774
Three Layers (Springfield)
1602 Walnut
904 3559791
3 paintings
Also check out my links for more images and information:
www.flickr.com/photos/overstreetd
www.facebook.com/profile.php?id=1247272774
posted by floreada targets at 11:02 AM
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High Relief: The Inspired World of Artist Overstreet Ducasse mixes a hip-hop beat with a surreal flavor
posted by floreada targets at 10:50 AM
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Thursday, December 08, 2005
HIP HOP, INCLUSION, SURREALISM in the ART of OVERSTREET DUCASSE
This is not art for high minds, in high places and effete tastes. It is not about decorative value and academic study. This art is about amalgamation, observance, and relevance. In it one finds the thoughts of the artist, at least those he wishes to reveal. It is not a new thing that this should be the case; this is a new artist adept in the new techniques and the new symbologies.
“Door-to-Door: Walking through Street Art” is the examination of the themes of hip-hop, inclusion and surrealism in the art of Overstreet Ducasse.
While the entire subculture of Hip Hop is of questionable repute these days, the images of that subculture are most commercially viable, from DMX hawking sportswear to Tupac Shakur’s face being used to sell a myriad of ideas and products. In Ducasse’s paintings and constructions bling one of the currencies of Hip Hop is noticeably missing. The personage’s therein are meant to be icons. They come off the stage, up from the street and are “captured” on canvas and in mural. He seeks to ennoble them and presents them to the viewer with a more refined hauteur. The street arrogance becomes a kind noble pose. Make no mistake these are not the Dutch burghers in black with white ruffs, set in luxurious dark backgrounds, they confront the viewers head-on backgrounded in neutrals and whites.
That these performers should appear in these works is part and parcel of Ducasse’s oeuvre. That oeuvre has as its second theme inclusion. There are to be found within masks from Africa which inspired the early modernists and gave birth to cubism. The wooden doll figures that were found in the photos of Man Ray are referenced in a work of a seated wooden man in a room, in a room. Herb Ritts’ photograph of dancer/choreographer Bill T. Jones is incorporated into a seascape. Basquiat’s revelries in color and graffiti are a source of connection. Then, of course, there are the street – signs – literal signs and made-up ones. Bob Marley, all things are grist for the mill or rather the brush.
Overstreet Ducasse once said in an interview, “The number one rule in art is that there are no rules”. Surrealists from Dali to Bob Thompson put that tenet into action and so does Ducasse, seas with men rising from them, a living African mask from which flows a sea with a man rising from it, a man from a green sea with hair as rays, juggling suns and a moon, and a working figurative factory. All these and others show a surrealistic theme. This IS a representation of the landscape of the mind. Ducasse’s mind seems to come back to the sea, to Africa via Haiti, to the black man in the world. These are his most intellectual images but not academically so. These show his intellect.
The Street in this exhibition is not just the one we ride or walk upon. This is not solely a figurative theme. It is the laying out of the mind -the thoughts- of OverStreet Ducasse.
“Door-to-Door: Walking through Street Art” is the examination of the themes of hip-hop, inclusion and surrealism in the art of Overstreet Ducasse.
While the entire subculture of Hip Hop is of questionable repute these days, the images of that subculture are most commercially viable, from DMX hawking sportswear to Tupac Shakur’s face being used to sell a myriad of ideas and products. In Ducasse’s paintings and constructions bling one of the currencies of Hip Hop is noticeably missing. The personage’s therein are meant to be icons. They come off the stage, up from the street and are “captured” on canvas and in mural. He seeks to ennoble them and presents them to the viewer with a more refined hauteur. The street arrogance becomes a kind noble pose. Make no mistake these are not the Dutch burghers in black with white ruffs, set in luxurious dark backgrounds, they confront the viewers head-on backgrounded in neutrals and whites.
That these performers should appear in these works is part and parcel of Ducasse’s oeuvre. That oeuvre has as its second theme inclusion. There are to be found within masks from Africa which inspired the early modernists and gave birth to cubism. The wooden doll figures that were found in the photos of Man Ray are referenced in a work of a seated wooden man in a room, in a room. Herb Ritts’ photograph of dancer/choreographer Bill T. Jones is incorporated into a seascape. Basquiat’s revelries in color and graffiti are a source of connection. Then, of course, there are the street – signs – literal signs and made-up ones. Bob Marley, all things are grist for the mill or rather the brush.
Overstreet Ducasse once said in an interview, “The number one rule in art is that there are no rules”. Surrealists from Dali to Bob Thompson put that tenet into action and so does Ducasse, seas with men rising from them, a living African mask from which flows a sea with a man rising from it, a man from a green sea with hair as rays, juggling suns and a moon, and a working figurative factory. All these and others show a surrealistic theme. This IS a representation of the landscape of the mind. Ducasse’s mind seems to come back to the sea, to Africa via Haiti, to the black man in the world. These are his most intellectual images but not academically so. These show his intellect.
The Street in this exhibition is not just the one we ride or walk upon. This is not solely a figurative theme. It is the laying out of the mind -the thoughts- of OverStreet Ducasse.
posted by floreada targets at 4:14 PM
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