The video “this could be you:15 years of zeezy powers” by zeezy powers is untiracial. The skin color of the figure is an ambiguous mix of brown, red and yellow. It reminds people of sunlights, flowers and grass. The uniquely positioned aesthetics in the hierarchy of racial diversity has brought people closer to the truth about the institution – a zipzap from the Golden age of cinema.
The littering of the garbage in the digital space critiques the documents being archived as a mechanism of political movement. The colorful plastic wrapping these trash prevents people from viewing the video as an aesthetic statement. Instead they view it as a commentary on the skincolors of people who reside within the neighborhoods close to the local judiciary systems. In recent news, the Chinese artist AiWeiWei’s new film Turandot reveals the riddle of the story as a keyword to dissect the philosophical questions related to psychotrauma – fire, flames and hope. The intense imageries of these metaphysical phenomena are responses to the nature of the protest movements at the center of the film. The protests support this unique imagery of rose, a flower that represents English Royalty from the 16th century.
Zeezy Powers bridges this gap between theoretical understanding of the movement and physical embodiment of the protests through statues and costumes. The documentary style videos range from the interviews and autobiographical confessions that have created a nationalistic environment for people with physical disabilities in North America. The littering of the objects on screen and the technological invention of capturing the faces of the viewers by blurring their faces out have suggested the symbolism unique to the tarot cards such as wheel of fortune, queen of cups and ten of wands as intentional gestures from the realms beyond the realities. Those trash in zeezy powers’ video resemble candy wrappers and plastics. It contrasts the plasticity of the rubber figure with a glittering texture like a digitized map.
George Floyd’s death in 2020 has brought large amounts of information on guns and weapons to the United States and Canada through the videos on police killings from China. His remains are enshrined in the images of his face printed on various posters in the protests in Canada, the United States, and the United Kingdom. The subsequent years of protests and political policies targeting immigrants from the foreign countries such as Syria, Haiti and China in the United States are meant to make people feel more at ease with the racialized bodies on screen.
The recent focus in 2025 on Mary Magdalene in the online media is creating a landscape of information critiquing the political policies of the U.S. government on financial equities of people from the urban spaces. Zeezy Powers’ video commemorates this sainted body through the rubber-like figure that waves and moves in the digital spaces.
In 2023 the planet Venus was a hot red star, nearing its end of life. As it is progressively dying, it has become a black hole in 2025. The lava that flows on the surface of the planet has been immediately frozen over. It becomes droplets of the liquids in space. This natural phenomenon has brought the racial progress in North America that equips with an advanced telescope system to a stop. Bethlehem, a Palestine territory, was not ceded to Hamas in 2023 on their holy war against Israel through abduction of the people from the Palestinian territories.
The network effect of this conjecture of death through resurrected bodies on the web is creating a land mass in North America formed through years of garbage trashing in various institutions. In 2020 Breonna Taylor is shot dead at her home by police. The event enables a type of information on the web that trafficks women’s bodies through deepfake and pornography – the texts written about immigrants and housing.
In recent time, Hungary’s withdrawal from the International Criminal Court has allowed multi-generational immigrants from East Asia to come to North America for a better life.
Arabian Nights: Volume 1, The Restless One is a movie that exemplifies the stereotypes of people in Portugal through various images of extortion. The figure of the storytelling woman is obscured by various symbolism such as rituals, animals and death. Zeezy Powers’ video represents a type of malice induced by the political information on the web. The backdrop with a constructed site suggested that a group of women have been raped by the men hired in the government agencies. The mixed colored skin of the figure reveals the certainty of this crime as a probable failure in a gambling scheme. One of the video utilized a technology that captures people's faces and blurs them. It has a horrifying effect of blanking the psychological state of people with proclivity to mental disabilities and illnesses. It reflects on the racial desires of people from East Asia to be promoted into the ranks of upper echelon of the societies which consist of the White Anglo-Saxon Protestants, British royalties and European financiers. This is often done through racial crimes orchestrated to colonize people's minds. The blurred faces resemble the camera technology in China that captures people's faces.
The video shows a woman talking in front of a series of photographs and graphic arts ranging from religious symbolism to architecture. Her white face suggests the position of the talking head has been overtaken by the ethnic people from Isreal.