STOXOSI
INC.















             
STOXOSI INC.
is an interdisciplinary studio working a cross film, visual art, and contemporary media.
Founded in 2016
by Saudade Toxosi.The studio centers on
image research, found footage, and
curatorial methodologies  as primary
tools for shaping visual language.

At the core of the practice is EQUINOX 1600, an ongoing and evolving archive that informs how images are sourced, sequenced, and understood.
Through this framework,
STOXOSI INC
. develops visual systems that move beyond reference—engaging memory, relation, and cultural continuity.

The studio has contributed to projects across Black cinema, fiction, commercial media,
and music video, supporting directors, cinematographers, and creative teams in
building precise and resonant visual worlds.



STOXOSI INC. operates with a commitment to mutual care, correctness, and integrity—approaching each collaboration as a shared process rooted in depth, intuition, and clarity.



Visual Research

Deep image sourcing and archival investigation to support concept development and visual direction. We build expansive reference systems that shape tone, narrative, and aesthetic coherence.

Found Footage & Image Curation

Selection, sequencing, and integration of found imagery. We construct relationships between images that extend meaning beyond the frame.

Creative Direction

Development of visual language across film, commercial, and interdisciplinary projects. We guide projects toward clarity, precision, and distinct identity.

Consulting

Strategic and conceptual support for artists, Filmmakers, and creative teams at all stages of production—from early ideation to post-production refinement.

Education & Workshops

Lectures, seminars, and guided sessions on
image practice, visual culture, and curatorial methodologies.


We do not simply provide references.
We build visual systems.

Our work is grounded in sequencing, relation,
and intuition—supporting projects that require depth, intentionality, and cultural awareness.




STOXOSI INC. operates across disciplines, contributing to projects in film, installation, music, and visual culture. Our work often exists within collaboration—shaping visual language, narrative structure, and image development.

EQUINOX 1600

An ongoing curatorial project and living archive centered on found image sequencing. This work forms the foundation of the studio’s methodology and continues to inform contemporary visual culture.

GLTCHD NRRTVS

Experimental moving image works exploring distortion, repetition, and abstraction through installations and immersive environments known as televisors pots (Kongo).

Film & Media Collaborations

Visual research, editing, and conceptual development across independent and commercial productions. Contributions include work with directors, cinematographers, and interdisciplinary artists.

Installations & Exhibitions

Time-based and spatial works engaging image, sound, and memory through nonlinear visual structures.

Full portfolio available upon request or private viewing.

Work With Us!


STOXOSI INC. collaborates with artists, filmmakers, agencies, and institutions seeking depth in visual research and image-making.

Consultations

Sessions begin at $265/hour
Sliding scale options are available for artists and projects in need.


Inquiries

For collaborations, consulting, or general questions:

EMAIL; HERE
Studio Location: Atlanta, GA







Clients/Collaborators
Filmmakers / Directors

  • Atheel Elmalik
  • Arthur Jafa
  • Boots Riley
  • Bradford Young
  • Elliot Rausch
  • Image 360 Films
  • Jasmin Garcia
  • Leah Takele
  • Morgan Mathews
  • Petna Ndaliko Katondolo
  • Rachel Chavkin
  • Todd Tourso
  • Kahlil Joseph



Artists / Performers

  • Anisia Uzeyman
  • Cara Judea Alhadeff, PhD
  • Danielle Deadwyler
  • Darius James
  • Dineo Seshee Bopape
  • Iyana Esters
  • Rashaan Patterson
  • Sunè Woods
  • Urb Alt



Projects / Films

  • AB00T
  • Elizabeth Birkett
  • Girl Culture Films
  • Jordan Brand / NIKE (JUMPMAN 23)
  • Nannette Nelms
  • Parkwood Entertainment
  • Pulse Films
  • Samora Pinderhughes
  • Stink Films
  • Sun Haus


Cultural Spaces / Arts Organizations


  • Negarra A. Kudumu (Curatorial Lab)
  • Bephie Beauty Supply
  • Black Women Disrupt
  • BRIC Gallery
  • BGIN Studios
  • Buttafly Kisses
  • Dunedin Fine Arts Center
  • Healing While Black
  • Knoch Magazine
  • Liberator Magazine
  • Lost in E Minor, Australia
  • Mythium Literary Journal
  • Negarra A. Kudumu (Curatorial Lab)
  • New York Theatre Workshop
  • The ArtsXchange
  • The Healing Project Arts LLC
  • Mi Gente Movida
  • Art Out
         






         







        


EQUINOX!^))  1600   GLTCHD NRRTVS   DUI_ discrete units of information

00. About
Saudade Toxosi (AIAWS)
investigates the New Indigenous African experience through 
GLTCHD NRRTVS,  a practice of distortion, sequencing, and 
intentional error. Working with found images, she constructs 
nonlinear,  immersive and sculptural visual systems where 
meaning emerges through repetition, interpolation, and 
relational dynamics by positioning images as living, unstable
forces shaped by memory, frequency and transformation that
is explorative.

At the heart of her practice is Equinox 1600, an evolving archive 
that resists conventional stability, foregrounding curation as an 
aesthetic strategy. Toxosi’s work interrogates the politics of 
representation, reconfiguring historical and land based narratives
of Black life while creating spaces of resistance, possibility, and 
ancestral memory, Her practice explores evolving modes of   being,
presence, and collective experience. making
images both
agents of transformation and vessels of relational knowledge.



Saudade Toxosi  has featured works alongside Henry Davis,
Faith Childs- Davis, Arthur Jafa, Samora Pinderhughes, 
Michelle Blade, Karon Davis and Immanuel Wilkins. Toxosi 
is recognized with the BIPOC Curatorial Award (2023), 
fellowships from The Hambidge Center for the Creative 
Arts and Sciences and Knoll Farm (BetterSelves Solidarity 
Award)2020 , the Nexus Fund RRG (Atlanta Contemporary, 
2024), and an honorarium from Harvard ArtLab(2025).

Her work has been exhibited and presented at MoMA( 2026), 
BAM (2009), RISD Museum (2024) The Kitchen NYC (2022-23) 
The Bonnefantenmuseum (2017-18), Maysles Documentary 
Center (2024), Hammonds House Museum, Stony Island Arts 
Bank (2029), Universityof South Florida (2021), Horkland  
Kunstsenter(2015), Norval Foundation (2021),Harvard ArtLab
(2025) the Universityof Cape Town and the Norval Foundation, 
South Africa (2020-21). She has lectured at the University of 
California. Her writing has appeared in Magi(2008) and
Mythium Literary Journal (2009), with forthcoming video 
installations  based on these works expected in 2027–2028.


links

@stoxosi
videos

EQUINOX 1600
“the never ending rebirth of an idea.”

WANDS
selected source materials

 




     01.What  Remains ?
2:22 mins. 
Color
2022, 2026 versions
Publication

ISBN: 001-003-7A

THIS VIDEO IS PRIVATE

1920x1980
INARGRUAL ISSUE V1







  02.ALL MY FRIENDS BE...

8mins 9 sec.

Color
Publication

ISBN: 11-662-115-7

1920 x 1980

Video Installation/Immersive




All My Friends Be...

All My Friends Be… is a three-channel immersive video installation presented within a hall of mirrors. The work acts as a visual prayer, confronting the ongoing war against Black life in the United States while honoring resilience, love, and communal care.

Through layered moving images, time collapses—past and present repeat like fractals. Fire signals transformation, while red and blue lights evoke policing and ancestral presence rooted in Yorubaland, Hailti and Benin.

In the final sequence, water gathers in darkness, suggesting burial, renewal, and spiritual rest. As the image fades, the sound continues, holding space for reflection and restoration.

Music:
Bata Muntu

Lorem Ipsum...






   03.EL MONTE
VISUAL NOTES 
LYDIA CABREA
2020-2022
Publication

ISBN: 0620-03141

BLACK AND WHITE
PHOTOGRAPHY




Those who deem themselves intelligent find that admitting to the reality of the unreal is detrimental to their prestige. —lydia cabrera

Digital photography in Kuba, Peru, Afrifca  and the Americas witnessing the NATURES  through African spiritual technologies in the womb forest, in the jungle, in cities and in communities.


  04.OYEKU MEJI

GLTCHD
2024-2025
Color
Publication

ISBN: 222-0-0427-3732-13

1920x1980
Video

OYEKU. MOTHER OF DEATH ("0 yeye iku")

Oyeku marks the end of a cycle—whether in personal growth, the completion of a project, or the closing of a life lesson. It signifies both transformation and finality, including the passage of physical death.

At the same time, Oyeku carries instruction. It warns against premature endings and speaks to the importance of completion. In its negative manifestation, it reflects interruption, imbalance, and the failure to fulfill what has begun.




   05.OYEKU 2018
3:12mins  blk and white, color

Patternist
GLTCHD Video Stills


Publication

ISBN: 0-9864-1209

1920x1980

Image map selections




                                        Oyeku takes its name from a metaphysical principle within Ifa, a sacred
spiritual system from West Africa. Derived from “O yeye iku,” meaning “Spirit of the Mother of Death,” Oyeku signifies darkness—the contraction of matter, akin to what physics describes as a black hole. In human terms, it marks the end of a cycle: death, transformation, and rebirth.

These cycles unfold across all dimensions of life simultaneously. This installation reflects on the possibility of ending suffering within the African diaspora, with particular attention to African American experience.

Structured through the spiritual vessel of the Aztec black mirror, the work functions as a reflection of time and space—where film becomes a form of divination. The viewer is both witness and participant, moving within and beyond the image.



Composed of 273 found images (3 / EXU), Oyeku operates as a visual prayer toward renewal, peace, and new beginnings.



  06.                 SPL KAST    2025




PUBLICATION

ISBN: 0-2020-25
1920x1980

Video Stills
VIEWABLE UPON REQUEST.