Zidoun-Bossuyt Paris is delighted to present Crossroads like this, the first European solo exhibition by american artist Kim Dacres, on view from 13 September to 1 November 2025.

Crossroads Like This, marks Dacres’ debut solo presentation in France featuring nine large scale rubber busts alongside two smaller works created between 2024-2025. The works in the presentation are hand-crafted creations executed over the course of the most recent tumultuous United States presidential election outcome and subsequent policies attacking and terrorizing women, queer, and immigrant communities within the United States.
Dacres draws inspiration from her experiences as the child of Jamaican immigrants to question, warn, and ridicule the new regime’s policies, which seek to erase the contributions marginalized communities make to the history and culture of the nation.
The title of the exhibition, Crossroads Like This, contains two themes: first, drawing on the Jamaican idiom of “crosses” meaning bad luck or bad intentions; and the additional literal meaning of meeting at a crucial point, where a decision is made.
From the imagined perspective of the artist’s Jamaican ancestors, she expels the cyclical danger of existing within or between politicized identity markers: race, ethnicity, femininity, gender expression, and immigration status.
Each work’s title cites the language of Jamaican patois/patwa (creole) and Jamaican dancehall music, a genre characterized by its rhythmic style, fast paced tempo, and socially conscious rebellious lyrics. Dacres references foundational dancehall artists like: Beenie Man, Cutty Ranks, Nadine Sutherlland, Patra, Sean Paul, and Shabba Ranks to rebuke the self-destructive and imbecilic nature of these actions as a familiar remnant of colonial thinking.
This presentation marks the first body of work utilizing a reddish-brown coating, a unique color associated with earthenware terracotta vessels and Dovecot, a famous cemetery in Spanish Town, St.Catherine Jamaica, Dacres’ maternal parents’ hometown. The use of this color intends to blur the line between life, death, and political fear-mongering. Dacres integrates her signature elaborate rubber braiding alongside the use of this color to adorn her abstract busts, and to bring humanity to these guardians from the ancestral realm.

BIOGRAPHY

Kim Dacres (b. 1986, Bronx, New York; lives and works between Harlem and the Bronx, New York.; MS CUNY Lehman College, Teaching English to Speakers of Other Languages, 2010; BA Williams College, Political Science, Art Studio, and Africana Studies 2008.) Dacres’s work has been exhibited around the world, including recent solo and two-artist exhibitions at UTA Artist Space in Atlanta, GA (2024), Charles Moffett in New York, NY (2023), Gavlak Gallery in Los Angeles, CA (2020) and Palm Beach, FL (2021); as well as group exhibitions internationally and within the U.S., including Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 at Modern Art Museum of Fort Worth, Fort Worth, TX (2024), Part 1 of Bronx Calling: The Sixth AIM Biennial at The Bronx Museum, Bronx,NY (2024), Dueling Consciousness at Zidoun-Bossuyt in Luxembourg (2023), New Forms: that which constitutes (critical) matter at Artspeak, Vancouver, British Columbia (2023), Black American Portraits at Spelman College Museum ofFine Art, Atlanta, GA (2023) and Los Angeles County Museum of Art, Los Angeles, CA (2021), Sounds of Blackness at The Metropolitan Museum of Manila, Philippines (2023), Godhead – Idols in Times of Crisis at Lustwarande 12th Edition, Tilburg, Netherlands (2022), Arrangements in Black at Phillips, New York, NY (2022), From a Place, Of a Place, presented by ArtNoir X regularnormal X Meatpacking District, New York, NY (2021), Through the Looking Glass, presented by UTA Artist Space, Beverly Hills, CA (2021). Dacres’ sculptures are in the collections of the Los Angeles County Museum of Art; the Bunker Art Space in Palm Beach, FL; Nasher Museum of Art at Duke University; the International African American Museum in Charleston, SC; the North Dakota Museum of Art; the Leslie-Lohman Museum in New York City, and Institute of Contemporary Art in Miami. In the Fall of 2025, she will unveil a new permanent installation of bronze sculptures in partnership with Artbridge and Settlement Housing Fund at the historic Harlem River Houses in New York City.