Zinzi Minott

My practice is focused on the body at its core. Bodily experiences, especially for us who experience life as working class LBTQIA Black, Black women. I’m curious how one navigates having that body. The consequences of that body and the joy. I love working with water. Repetition, duration and exhaustion. I am deeply committed to ephemeral work and find much power in the illusiveness of dance and how it evades capture. This as a result gives me an odd relationship to documentation and words. I do not like to contextualise my work with words too much. I like to give its space to talk, breathe. I do not give post show talks. I know this sits in conflict often with the fierce erasure that bodies like mine experience. It’s a practice. It’s mailable enough to hold conflict.

BLOODSOUND, 2022

BLOODSOUND, 2022
Sound Sculpture
670 mm x 58 mm x 117 mm
The system is filled with glycerine ( a by-product of sugar ) and is dyed red to represent

BLOODSOUND, 2022
Sound Sculpture
670 mm x 58 mm x 117 mm
The system is filled with glycerine ( a by-product of sugar ) and is dyed red to represent

I wanna rule my destiny, 2022  Print 83.3 cm (H) x 150cm (W)

Untitled, 2022
Print
62.5 cm x 100 cm

What Kind of Slave Would I be? (WKOSWIB?), 2017
Performance with video and sound, 60 minutes
Soundscore: Nikisii
Photo credit: Rohan Ayinde

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Zachary Fabri