The central feature of Zush’s work is the construction of a personal mythology of an autobiographical nature. His cartography feeds on an accumulation of images that refer to notions of body, and all its extensions: mind, sex, time, and the creation of a writing, a personal code, asura, that aims to express everything that is not subject to a rational explanation. Those elements organise a host of parallel universes that maintain a delicate balance between the apparently chaotic and monstrous and rational composition. His determination to debunk the figure of the artist and the breadth of his interests have led him to use such a wide range of media that he is difficult to catalogue. From painting, drawing and graphic works to assemblages, photography or collage, books or sound recording, reusing everything digitally and habitually working with creators from different disciplines such as programmers, architects, writers or musicians.

On numerous occasions Zush has expressed his confidence in the creative potential of all people, as well as in the therapeutic nature of art. For him anyone is potentially an artist, a scientist and a mystic. In some way, as in the work of artists such as Henri Michaux, Odilon Redon, Max Ernst, Antonin Artaud or many others who have worked on the boundaries of reason and madness, Zush’s work expresses the multiple personalities that populate our consciousness, other realities that reason is unable to express and which find in artistic creation a liberating territory that allows art a cathartic and, in a way, a therapeutic role.