A can be hesitant to talk too too much about anythin before it happens but lemme try breakin that.
At the moment am deep in the making of a video work, the first extended moving image work av made since PART 1: THE DINNER in 2018 & 2019.
Speculatively a thought the video would bring a communicational clarity to a web of interest and research. That it would maybe produce a kind of legibility that THE TRICKSTER (2024) – a ceramic sculpture – might not.
What’s become clear though is that this moving image work doesn’t provide any translations of, or alternative to, THE TRICKSTER. In fact this videowork is probably better described as a descendant of that ceramic vessel and their co-conspirators: THE PROTECTOR (2025) and THE FRIEND (2025).
Am notin all this because there’s a live-ness in the making of the work that’s mirage-like afterwards*. In the sharing am hoping to (re)remember - make that f e e l last longer? A think this probably also informs why a go from work to work and kind of reference / remix previous works – it’s never the plan but is nearly always what happens.
Words, descriptions, through-lines are just starting to sound themselves out to me now so maybe next time al be able to share.
*There never actually is an afterwards lool, it’s always a different now.
IN CONVERSATION THIS SATURDAY
I’ll be in conversations with the artists Adebusola Ramsay, Sekai Machache and Camara Taylor at Tramway, Glasgow (Scotland) on Saturday 18th January at 17:00GMT. This conversation will be preceded by a screening of the short film Maud. (2023) directed by Tomiwa Folorunso and Natasha Thembiso Ruwona. The event has been curated by Pelumi Odubanjo.
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