ZANELE MUHOLI

‘Self-Portrait’ (2020)

‘During this time, the mandate has been to protect oneself and to protect others. Because of the virus, by wearing a mask and committing to social distancing, in order to protect yourself, you are able to protect those around you. This piece, with double exposure, is a reflection on the interdependence between self and other; it speaks to how those two things are not separable. My works are often produced on the road, as I travel, but this image was taken at home because of lockdown. In this way, it is also a consideration of what it

means to have access to “private” space, and to share this when space is so limited for a large part of the country’s population. Due to circumstances, some people are unable to protect themselves and others, and this work questions what survival means in that instance.’

‘Zanele Muholi’ is at Tate Modern from 5 November until 7 March 2021.

‘From 1993 until 1997, I made a lot of self-portraits that were highly composed and orchestrated. But eventually, I found that I disliked playing a role; I wanted to be

the director rather than the performer. Then came lockdown. We went to upstate

New York, away from my studio, and all I had was my iPhone, stripped from having the luxuries of a camera, lights, a studio. As

someone who has lived most of my life in cities – New York, Tehran and Berkeley – I felt an affinity with nature for the first time.

I’m constantly taking walks in the forest, seeing flowers growing, birds singing, wild animals. So, when I was asked to create this self-portrait, I immediately thought about

how I could use the debris from nature. The image is completely absurd. Originally, I thought nature would become a kind of metaphor for the virus in that we are at its mercy; it’s very powerful, we can’t control

it. And yet, subconsciously, the wreath came to represent being under the umbrella of this potent element, and I embraced the force of nature. It gave me protection; it gave me security in an emotional way.’