Mamai 2012

Mamai (2012), a 5-screen video installation, is in part, a portrait of Hetain’s Grandmother, and in part, a document of the oldest living source of Indianess in his family. With each screen framing her morning prayers from five different days, the installation highlights Hetain’s fascination with the body’s reliance and faith in ritual, feeding its long-term memory. Every day his Grandmother remembers not the words she sang the day before, but instead the words instilled in her nearly a decade ago. In contrast, her limbs display a shorter-term memory, no longer operating as they once did but adapting as best they can to their more recent deterioration.

Hetain presents this body five times, from different days, in parallel. Just as in To Dance Like Your Dad, the eye’s natural tendency is to look for the synchronicity. However in this piece, we are not offered it until much later in the work. Here, Hetain’s mother provides the vital key for this to take place. In this synchrony of multiple pasts, Hetain intends to create a moment where time is disturbed, converging past, present and future non-linearly in order to make the viewer feel something visceral within their own bodies.

Mamai
Installation shot from New Art Exchange, Nottingham