Today, I’m shooter, audio grip and . . . set designer and carpenter?
Tichoana Mudhobi (“Tich”) is our subject. When we fail to get permission to shoot at the National Gallery where Tich has some paintings, I have to improvise. Sure, we filmed him at home, with his family, in his tiny room, hanging out with his sister and friends — but how can we show his art in a public space?
With two hours before sunset and a stack of Tich’s paintings in the bed of a pickup truck, I wander the grounds of Catholic Relief Services‘ compound in Bulawayo, hoping for inspiration. A driveway, a shed, a sidewalk . . . around back, there’s a stack of wooden paletts, and I have a vision.
|30 minutes to build an art installation, ready go!!|
Within minutes, I’ve grabbed our indefatigably positive driver Geofrey Mwedziwendira and with the claws of a well-worn hammer, we reduce a half-dozens pallets to their constituent 2x4s. Then we construct a simple two-tiered structure for 8-9 oil paintings. We leave gaps so when I shoot through the set-up, the art can be in the foreground and the three subjects behind.
Just in time for golden hour, we hang the final paintings and roll tape. I gently push and pull my Sachtler tripod along the Hollywood Dolly tracks, back and forth. Tich is in form, mentoring his art students, discussing each painting, musing about overcoming poverty, confident in his element. Having multiple paintings at eye level and all characters standing was key to creating an eyeline that worked. I flip the dolly to the other side, and the setting sun illuminates three hopeful faces. Another day in Zimbabwe.