Interview: Assante Chiweshe
DECEMBER 2021 ● INTERVIEWS
Assante Chiweshe’s photographs exude whimsy, youth, and friendship. She invites you into her world with each frame, almost as if you’re right there with her. Chiweshe, also known as @kahlo.greed on Instagram, was born and currently lives in Johannesburg, South Africa. She shot her first roll of film on a secondhand Olympus Zoom Deluxe 115 in 2019 during a protest for gender-based violence. Since then, she has garnered a true love for analog, shooting intimate yet playful portraits on both medium format and 35mm film.
Her first photo project, featuring @bambi.com_ knitwear and @bellacrochet_ handmade crochet pieces, explores sustainability and slow fashion. The project delves into our conception of fast fashion and the ongoing challenges surrounding society’s need for validation and acceptance, which comes at the cost of the environment. Y35 Mag was welcomed into Chiweshe’s creative world of shooting film and had the pleasure of talking about her life as a photographer in South Africa.
What drew your attention to film in the first place? What made you look for a film camera?
I was at Afropunk and my friend brought out this disposable camera. I didn’t know what it was. I took a photo of him, and two weeks later, he sent me the picture, and I thought, “this photo is really cool!” I ended up doing my research on film cameras and learned about medium format and 35mm. I wanted to go in hard, so I sought out the Mamiya RB67. That was the first camera that I wanted, and I managed to buy it.
And what has kept you shooting for two years?
I have learned to appreciate the process of shooting film and the craftsmanship that comes with it. Not many people are used to the slowed-down process, and I love getting 36 photos back. I have experience shooting digital, and I eventually realized that it’s not as rewarding as getting a full roll of film that isn’t blank or over/underexposed. I think it’s a validating feeling shooting film.
Your first photo project explores slow fashion and sustainability. Walk me through how the project came to life and what it means to you.
During the pandemic last year, it was tough for me to be a photographer. I watched many YouTube videos and stumbled across videos on sustainability and slow fashion and what it means to be sustainable. I think it’s another buzzword, and people don’t really know that sustainability can come from anything. Rewearing your clothes, thrifting, and making your own clothes are all examples of how you can be sustainable, you know? I came across another project called Dead White Man’s Clothes. It was a documentary project based in Ghana about the West sending all this old clothing to African countries because they think we need it. In reality, the clothing actually just goes to waste. That project really sparked something within me. I wanted to explore other ways of being more conscious.
Many of those on board were people that I already knew and had met through divine intervention. This whole year I’ve come across a lot of people that I was meant to meet. I met a model at a random shoot, and the model knew the stylist, and the creative director also knew the stylist. And the stylist was really into sustainable fashion, and she knitted the most amazing sweater – the green sweater.
How was the project executed? How long did it take?
It took around two months. We shot at a nature reserve/wedding venue. It was a cloudy day, unfortunately, but luckily, I had Portra 400. The project was solely shot on medium format because I love the colors that come from Portra 400 on 120 film. It was a long day. But everyone was so cool on set; everyone really wanted to be there. They also appreciated where I was coming from. I wanted to pay respect to the people who do the made-to-orders and take time to knit clothes and sew. Funny enough, the model and the stylist both have a crocheting and knitwear business. I thought that was a bonus.
Are you working on any new projects? What’s next for you?
I am! Without saying too much, I am looking to explore young, black love in South Africa.
What is your favourite film stock?
Fujicolor 200 because it’s cheap. It gets the job done, and I think it’s the most readily available film. I haven’t really had the opportunity to explore more because the film stocks here in Joburg are very limited.
So, touching on the film availability in Johannesburg, what’s the rest of the film community like there?
I think it’s new and up-and-coming, but there are a lot more people who are taking it seriously compared to when I started shooting film. You’re seeing a lot of people who use film to shoot editorials and professional work, which I appreciate seeing. A lot of the film culture is bred in going to parties, being out with your friends, and creating a sense of community. The film community is so welcoming because I feel like everyone is going through the same thing. Everyone has had a blank roll before or has underexposed a shot. We can all talk about it and relate.
Is there anything in particular about the South African people, culture, or landscapes that inspires you?
There’s so much I need to explore and learn about South African culture and, because my parents are Zambian and Zimbabwean, I have struggled with my sense of identity over the years. I never want to claim something that’s not mine. I don’t want to say my work is dedicated to the culture because there’s still so much I can do and want to do. My energy is more based on how I’m growing up or how my peers are growing up.
A lot of your photos evoke this sense of comradery, familiarity, and intimacy. There’s this sense that you’re at the party or that you’re the subject’s friend. Is this intentional?
I’d like to think most of my work is very honest. My work shows how I was feeling that day or how the shoot went that day. I’m fortunate to have creative people around me who have the same goals. Everyone is happy to be there, and it just comes with us growing and being self-taught creatives or photographers.
Assante's Instagram handle is @kahlo.greed.
This interview was featured in Y35 Mag Issue No. 12. To see all of the photographs Assante chose to present, check it out here.