Gautam Valluri

Three men—from China, the Democratic Republic of Congo, and Palestine—live together in a squatted apartment in a seemingly abandoned building in Paris. The group is bound together by their shared experience of life in exile and the fleeting nature of their possessions, relationships, and sense of home, but the temporary safe space is threatened by outside forces and events.

A reimagining of the 16mm projector as a weaving loom. A super-imposed double 16mm projection. One reel contains horizontal lines and the other contains vertical lines, these represent the warp and weft yarns of a loom. Each reel is of a different length and they are meant to be launched from a random frame, technically providing a never ending pattern of checks.

A mood board for the Deccan Sultanate of South India. A tapestry of images takes us through lavish chandeliers from the court of the Last Nizam of Hyderabad to the illuminated memoir of Babur, the founder of the Mughal Dynasty. A series of disappearing sonic crescendos flood underneath, remembering the fall of a former grandeur. This film is an ode to intricacy and majesty, through reverie and voyeurism.

In 1887 the Hyderabadi Nobleman Viqar-ul-Umra commissioned a mosque to be built from his memory of the Moorish Mosques he saw on a voyage to Andalusia. This film is an attempt to remember ul-Umra's mosque through movement and stillness, image and its absence.

Filmed in the tombs of the Paigah family in Hyderabad, India, this film tells the tale through noise and silence, flicker and stillness, of a tradition of architecturally outdoing your ancestors: even in death's eternal sleep. A film about unresolved crescendos, thwarted anticipations and unmanaged escalations, told through architecture gone awry.

Somewhere in the forests of the sub-conscious, a sleepwalker journeys through the remains of a lost city. Here the people and animals have become part of the architecture. Echoes of a possible past are heard in all corners. This place is now a somnambular archaeological site, lost in the no man's land between dream and memory.

The Gerrard Street Chinatown is perhaps London's greatest museum. Everything is displayed behind glass walls– people, actions, novelties, food items. It's the reconstruction of a culture that belongs to the other side of the world. A culture descended from a people that had departed their homeland. Through the glass's surface reflections, the artist sees reflections of himself and remembers sounds from his recent past and echoes of his own departures.