This ethos shaped her work in guest lectures, and one-to-one artist development sessions. She also explored these ideas through What Would I Be Without Everybody? a project examining interconnectedness and the role of community in shaping artists. Our shoot with her was achieved by loaning garments from Nottingham based Depop megastore Hunt’s Emporia and workwear fashion stalwarts Universal Works - where, by sheer serendipity, a shop assistant realized he had met Saziso before. It was a reminder that artistic communities are built on relationships, both intentional and unexpected. I wonder what role (if any) gender has in shaping care in the arts.“In 2017, some friends and I founded SHEAfriq, a collective of Black women creatives in Nottingham,” Saziso shares. “It started as a discussion about our experiences in the industry - tokenism, microaggressions, and the feeling of being the only one in certain spaces. By the end of that conversation, we decided to form the collective.” SHEAfriq evolved from a showcase platform into a support network. “We looked out for one another, shared opportunities, and created our own,” she says. “There was a strong sense of nurture in the way we operated - something I believe we wouldn’t have experienced in a male-dominated environment.” The collective’s launch event at Rough Trade Nottingham in 2017 was a full-spectrum celebration: live performances, an African market, a curated menu, and a film screening. But beyond the events, SHEAfriq became a form of accountability.

“Now, it’s harder to meet in person,” Saziso admits. “We have responsibilities that we didn’t have before,  - but WhatsApp groups have become a digital space for creatives. They’ve become essential in diasporic communities, offering peer support, honest conversations, and shared opportunities at the tap of a screen.” Despite its resonance in some circumstances, Saziso is adamant that not all art has to be seen through the prism of gender. “Why can’t the primary focus  be about the art itself, rather than the gender of the artist?” Saziso asks. “Why does the narrative always have to be about being a certain gender or race if that is not the intention of the artist? It’s fine if gender or race is a key theme, however there are many artists making work about other aspects of life, and sometimes subject matters are overlooked because of their identity"

While she acknowledges recent milestones for Black women and other underrepresented artists and believes that designated spaces are important in today’s social and political climates, she hopes for a future where artists are recognised for their work beyond identity categories. "My gender identity is part of who I am, but it shouldn’t always be part of the headline.” This perspective doesn’t dismiss the importance of representation - it pushes for a space where artists aren’t defined solely by their identity markers if the work isn’t primarily about these things. “There’s still a way to go,” she admits, “but we should also be striving for a future where artists are recognized simply as artists.” I ask if working in Nottingham presents any specific challenges due to lack of arts funding. “Sourcing funding will be even more competitive. There’ll be fewer programmes, fewer resources.” Still, she remains hopeful. “People are coming together. There’s an unwavering spirit in the creative community, despite how terrible the news is.” Mutualistic partnerships between artists and brands have become more important than ever. Collaborations - like those between Universal Works and Sludge Magazine - help sustain both creatives and businesses while broadening audiences.

“Nottingham is great at producing talent,” she adds. “The problem is keeping it here. I go where the work is. That’s the reality of freelancing - there are only so many opportunities in one city.” Beyond Nottingham there are also plenty of artists inspiring Saziso. “The 2024 Venice Biennale fostered an international community that continues beyond the exhibition, through WhatsApp groups” she notes. “Through that, artists are supporting each other, and exchanging opportunities long after events end”. She also highlights Bolanle Tajudeen, Founder of Bolanle Contemporary, and also Black Blossoms, an innovative online art school providing courses and exhibitions for underrepresented artists. “They’ve created an honest, supportive space for Black women and non-binary artists,” she says. And in London, a solo exhibition by Joke Amusan - Where Two or Three Are Gathered - is about to open. “She honours the Black women in her life, creating space for their voices to be heard.” The  commitment artists have to storytelling, representation, and care in a genuine and non-forced way is exactly what fuels Saziso’s work. And despite the challenges, she remains optimistic about the future of the arts, one that moves beyond labels and into spaces where artists, first and foremost, are seen for their craft.

Keep up with Saziso here

Article by Marisol Holme

Styling and custom pieces designed by Mia Mesembe

With thanks to Hunts Emporia and Universal Works

Photography by Martyn Ewoma