We're Having a Zorgasm

November 23, 2021

This piece is brought to you by the letter Z. No, it doesn't stand for zoos, zombies, or zippers. It stands for an artist creating a space for the youth to bask in their feelings, retouch their lip liner, and decorate their bedrooms. Sage Zoinka, known on Instagram as Zorgasm, creates a world of Candyland color pallettes and grunge aesthetics that meet in the middle to establish relatable characters. His work emulates the teen life around us. Not only does he provide the pictorial lense that our parents might see — tongue piercings, skipping class, and secular music — but he also sketches vulnerability, epiphanies, and the evolution of an umpteen year old's evolving with their sense of self.

In Sage's artwork, we are reminded of the different emotions and actions we may experience or already have experienced as blooming teens. It seems once we reach a certain age, we forget about the young adulthood that shaped many of our opinions and ideals that still wander in us today. Sage has the ability to reach these younger generations not only because of talent but because of his sense of relatability as a 17-year-old himself. Zorgasm's Instagram following of over 86,000 people precedes itself.

Text by JoliAmour DuBose-Morris
Photo courtesy of Zorgasm

The artwork of Zorgasm has now been featured on Sheesh Magazine, along with gracing every Pinterest board known to man. Sage's world of everything sumptuous and grotesque has become cropped profile images and conversations in friend groups of "who looks like who" the most. office couldn't help but want to know more about the young artist. Keep reading to hear about Sage Zoinka, also known as Zorgasm.

Sage Zoinka, you have such a popstar yet extraterrestrial superhero name. Can you tell us the background of your name along with Zorgasm?

My social media handle “Zorgasm” is a mashup of Z — my favorite letter — plus orgasm. I thought this combination not only sounded interesting but also clearly humorous. My goal was to create a memorable moniker to pique interest and make it easier to discover my account. Building on my preference for Zs, I branched out to establish Zoinka as a distinct brand separate from Zorgasm where I could exclusively design and fabricate apparel, as this is ultimately one of my largest aspirations and what I want to pursue further in college and beyond.

Your platform has gotten so much recognition. There’s so many people that repost your work or relate to your art, and at the age that you are — what does it mean for you to have such a connection to youth through your art?

I think it's impossible not to have a connection with the youth as all of the themes expressed throughout my work are pulled from personal experiences. As a teenager, I currently experience emotions and events that form much of the inspiration for my work. In many ways, my online platform is a digital diary that explores what I am experiencing and how I am feeling at that specific date and time. I find it extremely rewarding that there are so many others who relate to my work, as I feel I am achieving one of my goals in actually making an impact and creating a community of connection. Ultimately, I am not only making art for myself but also for the community of people I have met and shared experiences with along the way.

Every artist has their own style. How did you develop the characters that you have, and what inspires these exact drawings and characters?

My digital universe and the characters generated along with it stem from various inspirations like clothing trends of the early 2000s to modern day art and society. In developing a style unique to my own, I often explore the characteristics each of my favorite artists employed in their work. I then extract my favorite characteristics and experiment with them until I create a character design that feels personal to me. It’s been an evolutionary process to create a not only a unique style but also a storyline within my cast of characters that my audience can connect with.

Do you remember the first reactions you received from your work?

An outpouring of positive feedback from my work inspired me to establish Zorgasm as an official art / design account. Since the first few drawings, I have since developed a diverse cast of characters and engaged followers by naming each one, as well as developing their stories. Within months, simple characters turned into scenes of teenage angst in various venues, and spawned a demand for character apparel. It is because of the constant support that I’ve expanded as much and as fast as I have in the last year or so. I never imagined this evolution was possible in the beginning when I was solely creating fan art.

What is your favorite piece or sketch?

My favorite piece is forever changing as I enjoy each new piece better than the last. I am constantly evolving as an artist and my work is ultimately a reflection of my growth. When I look at work from a year ago, it is much less relatable because I’m in a different space now. That said, if I had to pinpoint a favorite piece then it would be my post from October 26 entitled “More Than Friends” because it shares a current expression of how I am feeling emotionally and because I really like how it turned out.

Your work looks like the smoothie of the two Nickelodeon shows, “As Told by Ginger” and “Rocket Power.” It’s this mix between playful and grunge. Are there any inspirations from cartoons or other forms of media that have influenced your work?

While I’m not specifically referencing either of those cartoons, y2k animated series and other cartoon characters have influenced the development of my style. I think subconsciously I do pull from cartoon series I watched growing up but I don’t specifically reference them when drawing. Instead, I am more likely to reference early 2000s iconic movies and photo shoots. Playful grunge is a good description of the mood I like to create in my work.

You just started creating clothes. Are there any collaborations or drops we should look out for?

I am constantly designing, so yes, keep your eyes peeled for upcoming new drops, restocks, and various collaborations. I would also love to do more collaborations in the future, if any potential brands were wondering. At the moment though, my brand is a one person operation and it takes an extensive amount of work to run all aspects of the brand, so, I thank those who are patiently supporting me as I am continuously creating.

I don’t know if you know but when you search Zorgasm up and go to the Urban Dictionary, all of these different definitions come up. Like, a zorgasm is — in somebody’s case — looking at Zac Efron. When we think of your work, how should we as consumers perceive not only your work but yourself?

When you perceive my work you see me, as it encompasses who I am and the beliefs I follow. What I've created is my dream and I am so thankful to everyone who continues to support me along this journey. When you perceive my work you are getting a sneak peak into my mental and emotional world; be gentle and allow yourself to get to know the piece, so you get to know me.

Art

Pamela Sneed’s Speaking Tongue opens at Dashwood Projects

November 15, 2024

Pamela Sneed’s latest exhibition, Speaking Tongue, will be on view at Dashwood Projects from November 20 to December 21. The show features twenty watercolor and ink paintings inspired by her recent trip to Kenya, where she was deeply moved by the elegance of giraffes, the landscapes, and the energy of Nairobi.

Blending her background as a poet and visual artist, Sneed’s work reflects on themes of identity, nature, and connection. Her paintings capture the beauty and spirit of the animals she encountered, alongside reflections on her own experiences as part of the African diaspora.

This exhibition marks Sneed’s first solo show with Dashwood Projects and will be accompanied by a new book, also titled Speaking Tongue, to be released in December.

By Enzo Holdt
Artworks by Pamela Sneed

Art

Tiebreaker - Alvin Armstrong

November 15, 2024

There is a moment of silence right before the play. Just before the racket strikes the ball as it hangs weightless in the air, breathless and charged. It’s the fleeting yet decisive instant that can alter the course of the match, determining who wins and who loses.

Alvin Armstrong depicts this crucial moment in his new exhibition Tiebreaker, symbolizing the risks and rewards of competition. It’s an implication of something else at stake, where athletes push not only their bodies, but their spirits to the absolute limit.

The dynamic figures embody the strength, grace, and agility juxtaposed by the vibrant color palette evoking not just the joy of competition but the charged energy of the court.

Tiebreaker is opening Thursday, November 16th at Anna Zorina Gallery.

By Rea Brayshaw
Artworks by Alvin Armstrong

Art

The Things People Are Ashamed To Take Photos Of: The Photography and Films of Yuhan Cheng

Yuhan’s latest exhibition of photo and video work titled 窗子外 Outside the Window, Inside the Tank 鱼缸里 takes its namesake from what could’ve been a mundane encounter. A month after moving to New York City from Chengdu, China, they stumbled across an abandoned fish tank left curbside. It reminded them of “the rotating fish in a tank that faded into the background of their mother’s home in Chengdu”, a thread connecting childhood familiarity that transformed into a symbol of greater significance in adulthood. A tank is a world within a world; a microcosm secluded from the broader chaos of the outside. Since then Yuhan has captured the other kinds of “fish tanks” closest to them in their photography and short films. Not literal ones necessarily– but intimate confined spaces in Chengdu and NYC where time stands still.

In the midst of taking snapshots of loved ones, Yuhan decided to turn their tender but examining lens on themselves. They realized shooting self-portraits unraveled a deeper understanding of their own nonbinary gender and queer sexuality. Yuhan admits in one of their short films “I hide from looking at my own body.” Yet, in the seclusion of their room which doubles as a dark room, Yuhan began to develop their first nude photos chronicling the subtle wounds; bitten cuticles, bruises, and scrapes they’ve accumulated involuntarily, once again documenting the things people choose to hide.

窗子外 Outside the Window, Inside the Tank 鱼缸里, debuted at FAR-NEAR Studio Hours a gallery in Chinatown focused on expanding the art world's view of Asia and Asian artists curated by Lulu Yao Gioiello. The event merged Yuhan’s works from the past three years, including 70 photographs, three short documentaries, and one installation. There was something uncanny about the gallery’s atmosphere – from the dollar store teal green curtains obscuring every window to the clusters of framed photos mimicking how photos of relatives are displayed in one’s childhood home, to the darkened lighting that was both disorienting and cozy. All these details were meticulously chosen to imitate the rooms depicted in Yuhan’s films and photography. In other words, the audience was invited to Yuhan’s “fishtank”, to share the odd balance of comfort and unease of being known intimately. We talked to Yuhan at Cafe Reggio to understand how their latest body of work came into being.

Initially, I was exploring my friends’ identities through the lens, but slowly, it became a tool to confront and understand my own queerness and gender identity.

Ora Margolis— Were any memories/childhood experiences you had in Chengdu important to how you've developed as an artist?

Yuhan Cheng— Growing up in Chengdu, especially in a military household, shaped and gave me a source of contention how I understood my identity. There was always a sense of conflict when it came to my body and feeling like I didn’t quite fit the expectations around me. This tension has been a driving force in my practice, pushing me to explore identity and belonging in my work.

Tell us a bit about your latest exhibition Outside the Window, Inside the Tank at Far. What headspace were you in when taking these photos?

YC— Outside the Window, Inside the Tank is about the fluidity of self; our bodies, our environments, and our identities. The idea of water as both a symbol of confinement and freedom is central to the photos and film that comprise the exhibit. This fluidity much like how I see my experience moving between Chengdu and New York, where similar feelings follow me no matter where I am. Water mirrors the body, the frame, and the room, which are all containers of the self.

Previously, you’ve said you wanted the exhibition space to look "like your room". How did you make that happen and why is your NYC room important to you?

YC— My room in NYC is an extension of my identity. It’s where I feel vulnerable and where I explore myself most openly. It’s a manifestation of my sense of self. I recreated certain elements in the exhibition—the green sheer curtains, the dollar store shower curtain with bubbles, and the center installation depicted a self-portrait deteriorating in water, reminiscent of a fish in a tank. This room, like any other room or container, magnifies the tension of self-exploration.

Has your idea or comfort with your gender identity and /sexuality changed since you’ve delved into photography?

YC— Yes. The process of photography and filming has been a mirror to my own understanding of self. Initially, I was exploring my friends’ identities through the lens, but slowly, it became a tool to confront and understand my own queerness and gender identity. The process of photographing my queer friends and then myself allowed me to come to terms with who I am.

How did you and Lulu Yao of FAR-NEAR Studio meet, and what makes her a good collaborator?

YC— We first connected when I reached out with my series Princess of Funan River. Lulu understood the struggles and complexities in the work and she invited me to expand on those ideas with her. Our collaboration has worked because Lulu truly resonates with the themes I’m drawn to, like fluidity, transformation, and the intimacy of navigating belonging.

After completing Fish Tank and Remnants of an Amateur Film, what kind of movie do you want to make next?

YC— Right now, I’m more focused on writing. I need to understand what I want to say before making another film. Writing helps me find clarity;it’s a crucial part of my process.

What kind of camera do you use and why?

YC— I use a Canon AE-1. I started with it and I still love it. It's small, spontaneous, easy to use, and light. It allows me to capture moments naturally without overthinking.

What's your biggest fear?

YC— Being disconnected from my sense of self, from others, and from the things I love.

When do you feel most like yourself?

YC— It’s during those fleeting moments when I complete a project. That feeling fades quickly, leaving me searching for the next project to reconnect with that sense of fulfillment.

How do you want people to feel when they interact with your art?

YC— I want them to feel whatever resonates with them. I don’t want to prescribe the experience; it should feel right for each person.

Your work focuses on the close knit communities that surround you or various metaphorical “fish tanks”. What communities do you feel closest to?
YC— The queer artist community, both in Chengdu and NYC, has been a source of comfort and understanding for me. There’s something about shared struggles and shared creative language that feels like home.

What's the biggest difference between living life as a queer artist in NYC and in Chengdu?

YC— In both NYC and Chengdu, I’m learning more about myself. NYC offers a sense of freedom, while Chengdu is home, a place of comfort and history. Neither place defines me but both are significant parts of my path.

What are your next moves/goals?

YC— I want to continue exploring both film and photography, expanding my narrative style and experimenting across mediums. During my show, I found new ways of seeing my photographs such as by adding a window screen between frames or letting a self-portrait fade and grow mold in water. These approaches allowed me to see my work not just as 2D images but as 3D objects.

I want to keep pushing the boundaries of how photo and film can interact, and I’m also interested in trying photojournalism. My focus remains on collaborating across mediums and continuing to accumulate experiences that I can translate into sincere honest work.