Tell us a little bit about yourself and what you do.

I go by Zo. I was raised in Metro Detroit, and recently just moved to New York from Chicago. I’ve expanded across many realms in expression, but primarily engage in works that integrate fashion, movement, and material studies.

What are some recent, upcoming or current projects you are working on?

Since my recent transition to New York, I’ve mainly been focused on resituating and evolving. I moved with minimal belongings, so currently I’m working on some garments, accessories, and product designs for my new being. My last engagement in Chicago was a performance piece collaborating with my talented friend, Isaac Couch. We developed choreography embodying a shadow figure, performed down the ANTIX runway for his collection Undead. Pointe shoes and all, I hadn’t performed in such an audience in a very long time…but I was more than fulfilled to see my inner-flame be ignited again. And marking almost a year ago today, was the production I directed for my thesis collection, Lumen, presented at Linkshall. Since then, my fashion focus shifted, generating more ready-to-wear garments and accessories. I’ve been producing a series of leather goods such as wallets, jewelry, bags, and tops; all incorporating torched features. Showcased in some pop-ups like Pleasure Market my friend Madi Hansen organized this past summer. Much of that work is now available for purchase at Everything in Pilsen, Chicago. The fashion curation of archival and local designers is something special. Aside from developing my own work, the last year in Chicago was filled with a variety of opportunities I got to situate my skills in. I was heavily involved with costume construction and backstage production work for Visceral Dance and Ballet Chicago, performed in the MCA, Chicago’s Auditoriums, and Harris theater. Very taxing but rewarding work; it was exhilarating to have my work performed and viewed by so many…I felt like a ghost-writer. I also tuned into the finer-art scene and studio assisted for Chris Bradley and gallery-sat for Povos a bit. Those atmospheres got me back into conversing with the process and inspired my interest in painting again, something I’m carrying forward.

What is one of the bigger challenges you and/or other designers are struggling with these days and how do you see it developing?

The most weighing aspect might be the abundance of ideas and concepts I want to explore and execute…maybe it’s a good problem to have, but sometimes it’s hard to direct a point of focus. I think that’s why I’m drawn to integrate many realms of expression in my works; I like to push an idea through many doors. Leaning into collaborations and commissions aligns with this well. Being able to parallel a vision with a like-minded person(s) and live out an idea through another body. Actually, some of my favorite works have been realized through collaborating with photographers, performers, and craft-focused collaborations. Unity offers so much complexion.

How did your interest in art or design begin?

I was fortunate enough to have my mother and grandfather be fine artists. My childhood was immersed in the Metro Detroit art scene; strolling art shows, watching them situate their works, and casually creating together was frequent in my upbringing. My father was also very mechanically innovative, and that undoubtedly drew my interest in construction. Encouraged to explore and create legitimately everything, it accumulated to be a natural state of mind. Through thin and dark times, occupying my hand and mind into work became habitual; until it became basically the only thing I did. I started Vaganova ballet at the age of seven, dedicating a decade of my orbits in training, performances, and fucked-up feet. I didn’t realize how potent the discipline shaped my insight of expression; finding alignment in the body, mind, and spirit was a point I continually gravitated to seek. I started adding notes of serious intention to my art in highschool, taking extra drawing and painting classes. I never really had a big social life, I chose to be tangled in my tangible world…and the graphite stains complimented the highschool angst era well. I sold prints and stickers of some of my watercolor works then, trying to learn the business aspects. Art school was initially a wary thought, and as much as I wanted to explore the realms of physical science, not a bone in me wanted to be situated in the structures implanted amongst the norm. I wanted to craft my own world, perspective, and sense of morality; so I detached myself from everything I knew and refound myself(s) in Chicago. Discovering the abundance of mediums, I was more enamored with the range an idea can expand than settling on a tune. I remember taking my first fashion design class and immediately being sucked into the aura of complexion. COVID hit then, and we were forced home. My grandma (the biggest icon in my life), stepped in and taught me how to sew and pattern. That has informed my work since.

How has living in New York City affected your design practice?

The abundance of anything and everything is almost overpowering, it’s easy to be swept away in the whirlwinds. It’s forcing me to be more selective and establish my own voice more than ever before, especially in designing.

What products or companies are you interested in right now?

I find myself circling back to my performance roots lately… I’m very intrigued by dance and production companies such as MN Dance Company, Trisha Brown, Wang Remeriez. Their performances are hypnotizing; the choreography, physical theater, and sound works are mended in a mind bending way.

What materials do you use in your work and what is your process like?

Leather, metal, glass, graphite and light are my select top five. I’m intrigued by their persona they have in our world, along with their material abilities. Fascinated with the evidence of existence within a mark itself, I think these materials can really embody textures of touch. I’m a science fiend, much of my work echoes the Conservation of Matter law that, “nothing is created nor destroyed”. Exploring that alongside destructive processes within materials, offers a circuit of transformations I like to play with. Call me an arsonist, but crafting with flames is one of my favorite processes. I torch much of my leather work, warping the color, shape, and chemistry with plasma itself. I also lean into the energy of physically breaking things and make it a stationary point of being, embodying textures of cracks and weathering. Some of its planned, some intuitive…I generally have an initial vision though, and work to achieve that. Generating additional movements with drawings and developing case-studies along the process, I like to sink in thought.

How does it work to have a design practice in cohesion with modeling and being a technician? How do these influence each other and build off of one another?

Referencing again to my background in dance and production work, I think I’ve accumulated opportunities to be the craftsman, muse and instructor. It really has created a crazy and expansive dynamic. It’s become natural to shapeshift within the different roles/perspectives in a work, but usually I have an idea of where I want to situate my energy most in a project. I think my awareness of body, craft, and big-picture thinking generate that mobility. It’s aligned my work in really fulfilling ways, I’ve been able to craft a piece, direct shoots, and even insert my being as the model. It feels like a one-man show sometimes when utilized for a singular piece, but it’s allowed me to collaborate in so many ways with others.

What artists or designers are you interested in right now?

Soo many, I definitely jump around with fascinations. I recently just went to the Noguchi museum here in NYC; Isamu Noguchi will forever be a sculpture icon, but I had the chance to view the collaboration between him and Martha Graham, another one of my role models. Their body of collaborations is a complexion I’m beyond interested in exploring and reflecting in my prospects. Some of my other cliche OG’s probably sit around Pina Baulche, Alexander Mcqueen, and Michele Lamy.

How has living in New York City influenced your practices differently than Chicago has?

Chicago served as the initial point where I found momentum; allowed me to take up space, to run and fall, to get lost and found; with no heavy consequences. There was lots of room to develop a sense of self practice within a community, and as a city, a sense of expansion. I think Chicago built a standard of work and community for me, I’ll have everlasting connections that were founded there. Everything became fortunately known for my practices; where to source resources, collaborations, and situate ideas…but eventually too known? I was really craving to see things with new eyes again. I’m only three weeks fresh in NYC, and still trying to predict my forecast in the new atmosphere…I came here knowing the art scenes would be ‘more’ elevated and established; in quantity and quality. I have much to experience and still develop my practice, but it’s cool to be surrounded by artists engaging in the same chase and rhythm.

What was the last show you saw that stuck out to you?

I try to attend as many shows as I can, I usually make a weekly list. I’ve been following the flow of more unconventional and underground apartment shows lately. The last show I attended in Chicago was at Hardboiled, a new apartment gallery space, including some works by my friend Nick D’Alessandro. I also love the energy and space Max Li, arts program coordinator for the First Church of Chicago, is expanding; leaning into hosting performances and show curations. Weather Proof is another favorite curated space in Chicago; Tenebrae was a daunting show.

How do you distinguish the many facets of what you do between them?

I have this toxic trait of saying yes to just about everything, maybe it’s the fate of my Zodiac signs, IDK. I let myself be fluid in my explorations and it gets me into projects with lots of different outcomes. Whatever my intuition gravitates towards I try to work with it, whether it be exploring a movement in paint, dance, or design; or integrating them. The narratives of physical forces I tend to explore naturally generate a common thread and approach to my style. I like to think of my aesthetic of being destructively refined and try to bleed that into whatever I touch. The self is so expansive and the human need to define everything often battles that…I try to balance it.

What are you really excited about right now?

This recent relocation into New York is pretty exciting. The opportunity to become unknown once again was something I was craving. Learning to be patient with the process of change, but excited to remember, forget, and replace.

In regards to your making, what is something that you’ve always wanted to do and are working towards achieving it?

I really want to work on developing a showcase for some of my physical works; paintings, drawings, sculpture, and textiles. Many unwritten commonalities loop in my overarching body of work, it’d be cool to encircle a display of that. It’s also kinda my dream to develop and direct a brutalistic circus; fashion, performance, sets, freaks and geeks…that’s been on my mind lately. A little planning can go a long way.

Can you share one of the best or worst reactions you have gotten as a result of your work?

I think the best reactions live in future conversations. Much of my work has led towards others expressing their interest in wanting to develop something collectively…I think that’s beyond gratifying to share an impact that can keep expanding. On the other hand, the worst reaction is no reaction…to not sense a connection feels funny. In highschool I’ve also been hinted to seek therapy, but honestly that’s more iconic than concerning.

Interview conducted and edited by Liam Owings