It’s exactly this kind of provocative, punctuating work that Minott has become known for, exploring the history of the Windrush generation and migration through movement, sound and bodies. Drawing on a rich range of influences from Mark Rothko, Frank Bowling, Piet Mondrian, and the paintings of Caravaggio and his use of light, something that is emulated in exhibitions by Zinzi. “I’m equally inspired by the experimental spirit of the Ballets Russes, the groundbreaking work of Nijinsky and Nijinska, the minimalist soundscapes of Philip Glass, early garage and grime including Wookie, Dizzy Rascal, Stormzy, The Prodigy and The Streets, the poetry of Federico Garcia Lorca, and the critical philosophies of Denise Ferreira da Silva.”

Minott is also known for Fi Dem (patois for ‘for them’). Fi Dem is an ongoing, durational moving image work, exploring the artist’s expansive investigation into Blackness and Diaspora. The work began in 2018 as a visceral response to the Windrush scandal, and each new film is released annually to mark the anniversary of the Empire Windrush docking in the UK on 22 June, 1948. The short video pieces splice archival and family footage to stirring and succinct reflections. To date the project has been presented across the UK and the US, including at institutions such as Spike Island, FACT Liverpool and Queercircle. Next year marks Fi Dem’s 10th Anniversary in 2027. “I am planning a large-scale presentation of all 10 films to reflect on the series and launch the 10th edition.”

Minott has just completed a large commission with SXSW London, premiering the latest instalment of Fi Dem, Fi Dem VIII and a new sound sculpture, titled ‘YARDSOUND’. She is currently teaching Unruly Body, a dance and choreographic technique she developed, at The Place, and undertaking research at the Wellcome Collection and Sadler’s Wells ahead of long-term projects with both institutions forthcoming.

Minott’s champion for The Wick is renowned patron and contemporary arts advocate Maria Sukkar. “One of the things I most admire about Zinzi Minott is her ability to turn movement into bold, urgent expression. Her work is deeply personal yet powerfully political, using the body as both archive and protest. Through her performances, she makes visible the weight of history, the complexity of identity, and the ongoing impact of colonial legacies—particularly for Black women. There’s a raw honesty in her work that doesn’t seek to soften or explain, and that’s exactly what makes it so resonant. Zinzi’s commitment to truth-telling, her refusal to compromise, and her ability to create space for others through her practice are qualities I find profoundly inspiring. She doesn’t just perform—she insists, remembers, resists. Championing Zinzi feels not only like supporting an artist, but standing behind a voice that is vital, fierce, and necessary in today’s cultural landscape. Her presence makes the art world richer, sharper, and more awake.”