Zeph Fishlyn is a multidisciplinary visual artist and activist dedicated to personal and collective storytelling as nonlinear tools for reinventing our world. Zeph’s public projects, drawings, objects and installations nurture alternative narratives by questioning, dreaming, distorting, celebrating and demanding. Their most recent work explores sources of resilience in the face of structural violence. From 2011-2015, Zeph focused on creative responses to the SF Bay Area’s economic and housing crisis, in collaboration with grassroots groups like the Anti-Eviction Mapping Project and Heart of the City Collective. From 2007-2010 Zeph worked as a researcher, illustrator and storyteller with the Beehive Design Collective‘s True Cost of Coal graphics campaign, an intricate portable mural and workshop developed in collaboration with Appalachian grassroots organizations that has traveled to hundreds of cities in the US and internationally.
Parallel to their creative life, Zeph has spent years fighting for real-world change in movements struggling for social and economic justice and queer liberation. When these two strands overlap, collaborative radical stories come to life in the form of political graphics and films, street theater, and creative intervention.
Selected Public Projects
The Mobile Office of Landlord-Tenant Affairs (more here)
This mobile, faux office on a bicycle trailer is a research project asking the question, what can art do that government can’t? If current housing logic leads to chronic insecurity, systemic displacement, root shock, and tent cities for the many, then maybe what’s needed is a different logic.
Those We Glimpse: Gathering Our Queer Ancestors (more here)
(ongoing participatory series)
For many of us, coming out as queer casts us out from our own “official” family stories and leaves us searching for ancestors–for that larger web from which we draw strength and context.
Fabric: Raveling/Unraveling (more here)
In the context of escalating evictions throughout the Bay Area, queers occupy a complicated role, both as people at risk for displacement and sometimes as first-wave gentrifiers. What does “home” look like when you pull it out of a particular building, or neighborhood or geography? When circumstances move us, willingly or unwillingly, how do we take “home” with us? How do we prepare to make new home in new places, and who do we prepare to make it with?
More work at www.zephrocious.com…