I am interested in spaces, micro details and the light in these distant interiors. The location of light is an element in my compositions and is just as intricate and important as having a figure in my work. The stillness suspendseveryday life and yet narrative is deferred by mood and mystery and incompleteness, so that atmosphere becomes tactile, moist light. As I worked, I kept coming back tondisconnection and belatedness.
I once took a photograph of a chair in a building that had been destroyed by an earthquake. I find the idea of earthquakes both scientifically and culturally interesting. For example, the way the earthquake grows and moves is very much like a rubber band, elasticated. I am interested in the idea of the internal. The earthquake inspired me to think about sound for my first film Out of Blue. Similarly, the sound of mosquitoes became important in that film. The way I work with my photographs is that I use them as a way of thinking. They are like a sketch that I gradually build up towards making my films. The photographs that I am showing at Göteborg International Biennial for Contemporary Art document the process of making my film Out of Blue and were taken in Uganda.
Sound is vital in my work. I made a list of all the sounds that we needed for the film. I am interested in a non-linear way of working with sound. It doesn‘t have a narrative. So, in a way, the sound works on a universal level. Sounds like thunder can mean many things, rain and the feeling of the rain can mean many things and I like that multilayered element.
Biography Born 1963 in Uganda, lives and works in England. Zarina Bhimji received her education at Slade School of Fine Art, University College London, Goldsmiths' College, University of London, and Leicester Polytechnic. In 2007 she was nominated for the prestigous Turner Prize. In 2010, she exhibited in Who Knows Tomorrow at Hamburger Bahnhof, Berlin, Germany. Solo shows include: Art Institute of Chicago, 2010; Haunch of Venison, Zürich, 2007 and Galerie Lumen Travo, Amsterdam, 2007.
Photo: Hendrik Zeitler