Sheriff: Armed man on dirt bike leads detectives to guns used in past Jacksonville shootings3 adults, juvenile arrested after incident after hours at Westside High sparks Operation Safety Net investigation
JACKSONVILLE, Fla. – As a continued effort to fight violent crime and remove guns from the streets, the Jacksonville Sheriff’s Office announced Tuesday the arrest of three adults and a juvenile and the seizure of multiple guns connected to several shootings across Jacksonville.
Jacksonville Sheriff T.K Waters said in the news conference that the arrests were a result of Operation Safety Net, which is a part of JSO’s “commitment to protect children.”
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Waters said the arrests were in connection to a February incident that happened when police saw 19-year-old Jaylin Orange on Instagram Live riding a dirt bike and flashing a handgun with an extended magazine on Westside High School grounds after hours, according to an arrest report.
JSO’s Community Problem Response Unit, known as CPR, tracked down Orange at a home on Jaguar Court, where he, Jamall Cobbert, 22, and Dominque Alexander, 20, were found. All three men ran away from police and a chase ensued.
The men were later arrested and a search warrant was issued. An unnamed juvenile was also arrested at the home as well.
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Investigators seized a total of six firearms, which included three rifles, two handguns and one shotgun. The handgun that Orange flashed in the video was converted to a fully automatic. Another gun was also converted to an automatic.
Waters said the shell casings from the guns were compared in the National Integrated Ballistic Information Network database, and detectives found that the casings matched those found in a Westside shooting in February 2022. The casings also matched the casings found at a May 2022 homicide, a June 2022 shooting, an August 2022 shooting, and a January 2023 shooting.
“I want to commend all involved with this excellent work on this operation and thank them for their unwavering commitment to making Jacksonville a safer place for all the citizens, ” Waters said., Ernesto Neto’s first solo exhibition in Galerie Max Hetzler’s Paris space, seeks, through an important installation as well as other works of different formats, to alert humanity to the short amount of time it has left to reduce the inexorable consumption of the planet’s resources. It urges visitors to reconnect with nature and, through it, with themselves.
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Through his holistic vision, Neto wishes to bring humanity face to face with its responsibilities as a reminder that this countdown also concerns us. The artist encourages viewers to physiologically feel this belonging. Although we, as humans, are inclined to place the intellect above the body, we depend nevertheless on the same organic system as all other living beings, animals and plants. Thus, Neto seeks to revive the link that has gradually broken between mankind, Earth and the universe.
With his immersive installation at Galerie Max Hetzler, the artist invites viewers to pause and meditate on a tree trunk, absorbing the energy of the surrounding environment. The murmured audio of a ceremonial song can be heard, making amends for the barbaric violence that cut down the trees, “
Here, the plywood tree trunk, along with the soybeans at its core, on the walls and on the paintings in the first room, speak to the excesses of the commercial industry, with the overproduction of soy and plywood leading to the inexorable deforestation of the Amazon. Neto’s paintings also denounce our consumerist society which abandons itself to the supremacy of money. In these works, brass, beans and banknotes take the shape of the exponential profits of agribusiness, with the use of plastic and leather also contributing to this devastation. The dark backgrounds of the paintings not only evoke the colour of oil, but the luxurious black velvet displays often used to present gold rings to clients in the jewellery industry, reminding us that oil spills and gold mining are both disastrous for the environment.
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” Ernesto Neto asks these questions in order to underline the critical situation in which we find ourselves today. Global warming has long concerned the artist and so this exhibition, the culmination of many years of research which has been delayed due to the pandemic, poses an ultimatum to humanity: a last chance awakening.
Continues the artist’s biomorphic work, first developed in the 1990s, and strives to create intimacy between the viewer and his art. Neto encourages multisensory experimentation and often incorporates herbs, seeds and elements such as spices, moss, cotton, shells and sand, into his works, whose ephemeral and vulnerable character recall the human body, evoking both the passage of time and the fragility of the world. He also regularly sets up Indigenous peoples as a model, who in their therapeutic rituals, harmoniously associate the human and the environment as part of an inseparable entity. As these guardians of our Mother-Earth have been doing forever with their ancestral rites, the artist invites us to reconnect with others in a dynamic and updated relationship with the reality of the contemporary world.
Ernesto Neto (*1964, Rio de Janeiro) lives and works in Rio de Janeiro. The artist participated in the Venice Biennale in 2001 and 2017. In recent years, his work has been the subject of solo exhibitions in public institutions including The Museum of Fine Arts, Houston (2021); Centro Cultural La Moneda, Santiago (2020); Pinacoteca de Sāo Paulo, and Museo de Arte Latinoamericano de Buenos Aires - MALBA (2019); Fondation Beyeler, in the Zurich Main station (2018); Museum of Contemporary Art Chicago (2017); Thyssen-Bornemisza Art Contemporary - TBA 21, Vienna (2015); Aspen Art Museum, and the Guggenheim Bilbao (2014); Espace Louis Vuitton, Tokyo (2012); and Museum of Modern Art, New York (2010), The Art Museum of Nantes (2009); The Panthéon, Paris (2006); among others.
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Neto’s work is represented in institutional collections worldwide including The Museum of Modern Art, New York; Tate, London; Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh; Albright-Knox Gallery, Buffalo; Boijmans van Beuningen Museum, Rotterdam; Art Gallery of New South Wales, Sydney; Hara Museum, Tokyo; Contemporary Art Center of Inhotim, Brumadinho; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Museum of Contemporary Art, Los Angeles; and Centre Pompidou, Paris.
, la première exposition personnelle d’Ernesto Neto dans l’espace parisien de la galerie Max Hetzler, tend, à travers une importante installation ainsi que d’autres œuvres de différents formats, à alerter sur le peu de temps qu’il reste à l’humanité pour prendre conscience de l’inexorable combustion des ressources de notre Planète.
Animé d’une vision holistique, Ernesto Neto souhaite placer l’humain face à ses responsabilités et lui rappeler que ce sursis le concerne également. L’homme, enclin à placer l’intellect au-dessus du corporel, dépend pourtant d’une même entité organique que l’ensemble des êtres vivants, animaux et végétaux, et par là même, devrait raviver le lien qu’il a progressivement rompu avec eux, la Terre et lui-même.
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L’artiste invite à méditer sur le tronc d’arbre situé au centre de l’installation, ce qui permet de prendre un temps d’arrêt pour se recueillir et capter l’énergie de ce qui nous entoure. Le chant cérémoniel, murmuré par les enceintes, contrebalance la violence barbare qui abat, sans une prière, un chant ou un rite, ces arbres et cette nature que nous épuisons et ingurgitons insatiablement.
Le tronc en contreplaqué représente ici, tout comme les graines de soja en son centre, sur les murs, et sur les peintures de la première salle, les dérives de l’industrie agroalimentaire, la surproduction de soja et le contreplaqué entraînant l’inexorable déforestation de l’Amazonie. Les tableaux dénoncent notre société de consommation qui s’égare dans la recherche de profits exponentiels : le soja, le laiton et le bois épousent la forme des graphiques de l’agrobusiness, et l’utilisation du plastique, de cuivre ou du cuir participent de cette aliénation.
. Ernesto Neto souligne par cette citation, les graves problèmes d’aujourd’hui, de cette situation critique dans laquelle nous nous trouvons, le réchauffement climatique étant un sujet qui le préoccupe depuis longtemps. Cette exposition, aboutissement de nombreuses années de recherche et retardée du fait de la pandémie, pose un ultimatum à l’Humanité comme un réveil de la dernière chance.
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Ernesto Neto, un des chefs de file de l’art contemporain iternational, reprend avec cette exposition, son travail multisensoriel et biomorphique, développé depuis les années 90, par lequel il encourage l’expérimentation, notamment olfactive. Il intègre ainsi régulièrement des herbes aromatiques, des graines mais aussi de la mousse, du coton, des coquillages, du sable, assimilables au corps humain, qui par leur caractère éphémère et vulnérable, évoquent le passage du temps et la fragilité du monde.
L’artiste érige en modèle la protection apportée par les indigènes qui, dans leurs rituels ancestraux, ont toujours connecté l’humain et l’environnement, de manière indissociable et harmonieuse. A l’instar de ces gardiens de la Terre, l’artiste engage le visiteur à agir en se reconnectant à la Nature dans une relation dynamique et réactualisée avec la réalité du monde contemporain.
Ernesto Neto (*1964, Rio de Janeiro) vit et travaille à Rio de Janeiro. Ses œuvres ont été montrées durant la 49e Biennale de Venise (2001) et la 57e Biennale de Venise (2017) Il bénéficie d’une consécration internationale, étant présent dans
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