Zas Ieluhee, a multidisciplinary Cameroonian artist born in Douala, draws her inspiration from her Bamiléké and Tikar roots, deeply connected to the Nile Valley. Her artist name, meaning "the moon" in Medu-Neter, reflects her profound attachment to ancestral spiritualities and her ambition to reconnect African cultural legacies with universal narratives. Self-taught, she explores a variety of mediums, ranging from Afro-fantastic collages to short films, abstract art, and poetic writing, all aimed at interrogating identity and cultural concepts.

Her work focuses on the memification of Black populations, a phenomenon she examines through the lens of how individuals conceptualize themselves and are conceptualized by the world. Zas coined the term “fragmented memes,” which describes the subtle process of concept mutation within the framework of memetic warfare—where ideas infiltrate and colonize minds without the individuals even realizing it. Her artistic practice, nourished by physical sciences—astrophysics, optics, and quantum physics—and pre-colonial African spiritualities, proposes a transdisciplinary and radically engaged approach. By popularizing ancient scientific, philosophical, and political knowledge, she aspires to ignite a cultural revolution that decolonizes the minds of marginalized populations, particularly within Black communities.

Zas's collaboration with the United Nations High Commissioner for Refugees (UNHCR) in 2020 marked a decisive turning point in her career. It was during this collaboration that she developed a unique visual language, inspired by ancient Indian, Tibetan, West, and Central African cosmogonies and spiritualities. This language continues to shape her work and gave rise to her abstract series Abstraction, which was exhibited virtually in her online gallery The Universe and Other Memories. Additionally, the publication of her research article titled Light Work: Black Memes’ Life Cycles and Fragmentation highlighted a project of reflection and creation she has been developing since the beginning of her career. The article delves into the life cycles and fragmentation of Black memes, exploring the memetic mechanisms through which ideas are formed and transformed.

Her journey is also marked by collaborations and accolades. In 2018, she participated in the Activism Row at the Afro-punk festival in Paris, before becoming the face of the Konbit Afro-fem event organized by the Afro-feminist collective Mwasi in 2020. Her works were featured on the covers of the last two issues of Assiégées magazine, focusing on themes of utopia and transmission, in 2020 and 2021, respectively. More recently, her work appeared on the cover of In The Black Fantastic, a book by Ekow Eshun, published in 2022 by Thames and Hudson. These accomplishments reflect the impact of her art, both personal and political, on the contemporary art scene.

Zas Ieluhee’s commitment goes beyond her individual practice. In 2020, she organized her first solo exhibition in Stains, while also participating in collective initiatives such as the digital exhibition Dreaming Beyond AI, dedicated to artificial intelligence. In 2024, she was invited to the prestigious Black Artist Retreat (B.A.R.), an event initiated by artist Theaster Gates and funded by LUMA Arles. This gathering, which brought together twenty Black artists from around the world, culminated in the public reading of her poem Expressing Myself, a first for her.