The story of Dostopos is, first of all, a story of friendship. Two editing colleagues who, independently of their work or their personal projects, decide to get together to do what they want: to play and experiment according to their own rules. Two people who like messing around with found footage and especially enjoy relating it to music.
Though their training and experience with editing underlies the way they proceed, their work owes just as much to artistic studies, dance classes, nights of concerts, Xcèntric sessions, trips to the Punto de Vista Festival and their intuitive, self-taught spirit and interest in collecting images. In fact, audiovisual robbing and pillaging in search of hidden treasure is a vital characteristic of these two moles. By digging through their image archive, they have developed their own particular visual world (where, despite its variety and eclecticism, materials salvaged from times past stand out), with the human body as the principal axis and its movement as a theme for exploration in unsuspected choreographies.
Dostopos are restless souls; in their lab they edit stolen images, rotoscoping, early flash animation, animated collage, direct manipulation on celluloid and even a “tremulous mini DV on an album of fleshly photos”. However, what emerges from this mishmash is a personality marked by an unmistakeable aesthetic taste, a noticeably female touch and the presence of an imprint that is recognisable throughout their work. All of the above should make these two moles a protected species.
Miguel Zozaya (Film historian)