My work is centred around the continuous movement between the micro and the macro, glitter and rot, knotting and un-knotting. Poetics, myth, ritual, ecology and technologies intertwine through original and found footage, text and sound into a montage that pulses at the threshold.
Extract from Q&A with Tendai Mutambu
What is some of the source material you’ve used in what you describe as your work’s ‘attempt to form intertemporal, intercultural and intertextual hybrid fictions’?
Material, for both moving image and writing, acquires a nomadic character, as it is drawn from various sources, which within themselves encompass multiple trajectories. I source a significant fraction from YouTube videos, such as news broadcasts of natural disasters, cosmic happenings, historical events and customs, CG animation of future space technologies and biota, amateur home videos and time-lapses of individual experiences and CCTV footage. Material also derives from diaristic accounts of travel and the everyday, my personal reflections, and family archival videos. I also sporadically extract scientific facts, particularly relating to biology, botanology and astronomy. Literature, poetry and mythology are significant stimuli for the work, as well as dreams, stories, recollections and anecdotes of my own and of people around me.
