Zekarias Musele Thompson
Lives and works in Oakland, CA, USA
Artist statement
Since I came to understand myself as an artist in 2016 my work has revolved around deep listening. My practice engages spatial facilitation to observe the conception, and materialization of the individual and the collective. As an individual, I’m particularly interested in representations of thought as form. I often use the breath, the saxophone, and oil painting to represent the spontaneous creative act. My work has often revolved around two polarities. On one end, my research has focused on unveiling the contemporary manifestations of Eurocentric (and Euro-American) colonial logics in our ecologies, institutions, and identity narratives. On the other, engaging the principles of phenomenological reduction to produce waveform patterns (in the sound and visual spectrum) centered in the present experience of the body-mind complex, in an attempt to relinquish the patterns of cultural formation. My formal interests lay in the dissipation of the image and the idea of a stable subject, landscapes, repetition, polyrhythms, and emergent composition. As a community member, I’m curious about the possibilities of agency through collaborative group process and equitable organization. I’ve hosted weekly gatherings for working on creative practice, facilitated large group improvisational ensembles, and co founded an arts organization to explore these curiosities.
Artwork
- Air! Air, Everywhere, 2025. Oil on linen
- untitled (the turnbuckle is a radiant being, and so are you, aka I thought it quite funny that one of the reasons there is a giant [1] painting of George Washington on a horse cajoling some soldiers at UC Berkeley’s Doe Library is because he was looking slightly nonplussed. This made the painting unpopular at the time [2] because he wasn’t the usual stoic depiction of the great Daddy of the Nation. He was supposed to be showing no emotion whatsoever. The artist [3] subsequently made a much smaller version of the same painting; where Washington and many of the other officers and soldiers look like cherubs) [1] 13 feet x 21 feet [2] 1854 and on [3] Emmanuel Leutze, who also made the more famous image of Washington Crossing the Delaware, 2025. Turnbuckles, stainless steel cable, Scotch Delicate Surface painter’s tape, string from canvas paintings, oil, gloss medium
- ‘History Painting’ – or what is the utility of the nation-state if the subject is inherently unstable?, 2025. Dye sublimation on aluminum, oil, golden acorn, desert rock, indigo powder, gloss medium, painter’s tape
- Field of Play aka various perspectival energetic fields are on display at all times, 2025. Oil on linen
- Washington & Gutenberg, 2024. Oil, gloss medium, matte medium, and archival pigment print on Canson ARCHES BFK Rives paper
- Everything is a collapsible yet solid structure — predicated upon the relations we have the capacity to envision, 2024. Scotch Delicate Surface Painters Tape, oil
- House II (for Bill Traylor), 2024. Gloss medium, oil, and archival pigment print on Canson ARCHES BFK Rives paper
- Peace and Justice, 2024. Gloss medium, oil, and archival pigment print on Canson ARCHES BFK Rives paper
- Portrait of the Artist in a State (of Siobhan), 2024. Gloss medium, oil, and archival pigment print on Canson ARCHES BFK Rives paper
- ad infinitum (The Meeting Place), 2023. Oil on canvas
- Togetherness (Lift Every Voice and Sing), 2023. video intervention and performance document
- South Rim, 2019. Archival pigment print
- untitled (Zabriskie), 2018. Archival pigment print
- Zabriskie Point, 2018. Archival pigment print