Even though her medium of choice is painting, she experiments constantly with other media, including installation, photography intervention, video and performance. Mostly known for the “Bazu” (in 2008 and 2017-2019), “Ongoing Happiness”, “Continuous lines” (2017) and the recent activist project “We consider ourselves a little song”.

Organic pasta and acrylic ink on old photography The Kitchen Table Collective Curators, The Origins (exhibition) London 2016

Zoița practices an expressionist gesturalism which can be defined as self-referential and socially engaged. The line and its expression are central elements in her images, otherwise structured with a surprising economy of means: lines are drawn or painted, flat or volumetric, traced by the artist in a spatial intervention, built out of neon lights, recycled and recyclable paper and industrial materials, etc. The artist experiments constantly with a great array of means and media, with various materialities and textures of the support, but she remains almost always within the range of representation. 

Bazu THE BEGINNING 2008

Drawing is a primary tool for expression, as it allows for the direct and spontaneous translation into image of emotion and energy, and is invested with the entire evocative and operative power of the primitive drawing – cited by Zoița in the essentialization she applies to the form. The central element of the image, usually anthropomorphic, receives a symbolic valence, as it unfolds narratives that are both self-referential and generic – especially so in the series Bazu, from 2008 and the most recent one, ongoing since 2017. 

BAZU project exhibited by Cygler Art Gallery, Paris, paintings, drawings & light installations various size canvases

In these works she follows the fictional character through a series of varied hypostases: fragments of personal history, reflections and commentaries overlaid on socially critical observations. The relationship of the graphic elements with the monochrome, blank or otherwise textured paper or canvas of the background cites the dynamic between the written word and the blank document or between the inscription and its wall – whether it is a neutral background or one comprising of multiple strata of memory, meaning and history.