- EXHIBITING PHOTOGRAPHERS (P-Z)
List
Africa .
- Abel Yonas – Ethiopia
- Abraham Kodja – Côte d’Ivoire
- Ahmed Khirelsid – Sudan
- Ariel Kasongo – DRC
- Amine Machitouen – Morocco
- Ammar Altahir – Sudan
- Ashenafe Mestika – Ethiopia
- Aya N’zue – Côte d’Ivoire
- Barbara Khaliyesa Minishi – Kenya
- Bethel Getu – Ethiopia
- Bereket Tassew – Ethiopia
- Beshash Michaeltesfa – Ethiopia
- Boris Nassibi – Cameroon
- Bisrat Shimels – Ethiopia
- Christian Sinibaldi – Nigeria
- Damilare Adeyemi – Nigeria
- Daniel Nana Kwame Sekyi Attah – Ghana
- Diallo Mamadou – Côte d’Ivoire
- Djibril Drame – Senegal
- Doglo Joannès – Benin
- Eden Tesfaye – Ethiopia
- Ephrem Kibebew – Ethiopia
- Ericke Tjiueza – Namibia
- Eyob Tadele – Ethiopia
- Fion Ferhat Bouda – Algeria
- George Mercurius – Egypt
- Godiva Omoruyi – Nigeria
- Hafsa Boreal Mohammed – Sudan
- Jaili Hajo – Sudan
- Jean-Yves Gauze – Côte d’Ivoire
- Josue Kakou – Côte d’Ivoire
- Kevin Kabambi – DRC
- Konkobo Jean Luc – Côte d’Ivoire
- Kossua Mariette Kouame – Côte d’Ivoire
- Kouame Karen – Côte d’Ivoire
- Kwete Bope Hardy – DRC
- Mahad Egal – Somaliland
- Mahad Mohamed Mohamud – Somalia
- Melca Teshale – Ethiopia
- Medi Bundjoko – DRC
- Merzagui Ahmed – Algeria
- Michael Metaferia – Ethiopia
- Mikiyas Liyew – Ethiopia
- Mohamed Anwar – Egypt
- Mohammed Hussein – Ethiopia
- Mosab Abushama – Sudan
- Mussie Tewolde – Ethiopia
- Mustafa Saeed – Somaliland
- Nahom Nigussie – Ethiopia
- N’cho Jean-Louis – Côte d’Ivoire
- Nkouka Bizenga Prince Debiz – DRC
- Nsikanabasi Effiong – Nigeria
- Otome Onoge Kajogbola – Nigeria
- Ouattara Idriss – Côte d’Ivoire
- Oyewole Lawal – Nigeria
- Paskaline Mayo – Kenya
- Peter Irungu – Kenya
- Philip Senanu – Ghana
- Prince “Uhunoma” Charles – Nigeria
- Rafaliarifaly Ratsima Henitsoa – Madagascar
- Rooney Getu – Ethiopia
- Thandolwemfundo Ngidi – South Africa
- Shams Saber Radwan – Egypt
- Shrouk Ghonim – Egypt
- Skander Khlif – Tunisia
- Sitota Awash – Ethiopia
- Sira Konté Séne – Senegal
- Sogo Oladele – Nigeria
- Sosina Mengistu – Ethiopia
- Tsevi Yawo Enok – Togo
- Wilfrid Massamba – Congo
- Yeabkal Yetneberk – Ethiopia
- Yvann Zahui – Côte d’Ivoire
Asia .
- Ebrahim Alipoor – Iran
- Fion Hung – Hong Kong
- Kianoush Saadati – Iran
- Muhammad Amdad Hossain – Bangladesh
- Rasha Al Jundi & Michael Jabareen – Palestine
- Wang Xue Sophia – China
Europe .
- Chad Alexander – UK
- Cesar Dezfuli – Spain
- Gerald Marie-Nelly – UK
- Grace Springer – UK
- Moschetti Jean-Claude – France
- Natalija Gormalova – Latvia
- Nelia Dos Santos Azevedo – Portugal
- Robin Chaddah-Duke – UK
- Rosalind Doherty – UK
- Svenja Krueger – Germany
North America .
- Lucas Foglia – USA
South America .
- Carolina Arantes Silva Moreira – Brazil
Cómo ser Fotógrafa Collection .
- Alejandra Carles-Tolrá – Spain
- Ana Amado – Spain
- Ana Palacios – Spain
- Angélica Dass – Brazil
- Clara de Tezanos – Guatemala
- Claudia Cebrián – Argentina
- Elena de la Rúa – Spain
- Elisa Miralles – Spain
- Estela de Castro – Spain
- Eva Casanueva – Spain
- Fabiola Cedillo – Ecuador
- Giana de Dier – Panama
- Gloria Oyarzabal – Spain
- Ingrid Weyland – Argentina
- Irene Zottola – Spain
- Laura Martínez Lombardía – Spain
- Laura San Segundo – Spain
- Linarejos Moreno – Spain
- Lucía Morate – Spain
- Lurdes R. Basolí – Spain
- Mar Sáez – Spain
- María Platero – Spain
- Marta Soul – Spain
- Pilar Giambastiani – Argentina
- Rocío Bueno – Spain
- Ros Boisier – Chile
- Rosa Muñoz – Spain
- Rosell Meseguer – Spain
- Sofía Moro – Spain
- Soledad Córdoba – Spain
- Suwon Lee – Venezuela
- Toya Legido – Spain
Prince Bizenga Debiz
DRC
Born in 1991 in Pointe-Noire, Congo, BIZENGA NKOUKA Prince Debiz , known as "BIZENGA," is a Congolese photographer and visual creator based in Senegal. Passionate about technology and visual arts from a young age, he chose to explore photography after a background in science, finding in it a path where he could fully express his love for creation. Through his lens, he explores the interplay of tradition, modernity, and ancestral rites: fragile witnesses of endangered cultures. His deeply immersive approach captures the energy and stories of the subjects he photographs. Each image becomes a vibrant encounter where past and present engage in dialogue, questioning spirituality and human emotions. With a raw and poetic aesthetic, his work provokes reflection and awareness, challenging the transmission of knowledge and the evolution of cultural identities. Committed and visionary, BIZENGA delivers photography that educates, moves, and transcends time.
The Insider (Wâ bâ tumba)
Beneath the canopy of ancient forests, where the trees whisper forgotten prayers, I walk barefoot over the memory of shadows. Water, the silent messenger, whispers my name, engraved in the breath of the wind. The spirits, invisible and eternal, dance, weaving mysteries between the ephemeral and the immortal. Guided by their masks carved into the bark of time, I pass through a labyrinth where the soul sees what the eye cannot. The river, a silver serpent, glides through the night, carrying the whispers of the Bantu kingdoms. It splits my doubts and strips me of my illusions to reveal the raw brilliance of essence, a gateway to a deeper truth. In the heart of the forest, a fire awakens, a dance of sparks and furtive shadows. A circle forms, mingling voices and shadows, breaking down the walls of the tangible. I drink the water of the ancestors and become the echo between two worlds, while the masks whisper: ‘You are the shadow that enlightens, son of the forests and guardian of sacred secrets’.
The Insider (Wâ bâ tumba)
Beneath the canopy of ancient forests, where the trees whisper forgotten prayers, I walk barefoot over the memory of shadows. Water, the silent messenger, whispers my name, engraved in the breath of the wind. The spirits, invisible and eternal, dance, weaving mysteries between the ephemeral and the immortal. Guided by their masks carved into the bark of time, I pass through a labyrinth where the soul sees what the eye cannot. The river, a silver serpent, glides through the night, carrying the whispers of the Bantu kingdoms. It splits my doubts and strips me of my illusions to reveal the raw brilliance of essence, a gateway to a deeper truth. In the heart of the forest, a fire awakens, a dance of sparks and furtive shadows. A circle forms, mingling voices and shadows, breaking down the walls of the tangible. I drink the water of the ancestors and become the echo between two worlds, while the masks whisper: ‘You are the shadow that enlightens, son of the forests and guardian of sacred secrets’.
Rasha Al Jundi & Michael Jabareen
Palastine
Rasha Al Jundi & Michael Jabareen
Palastine
Rasha Al Jundi is a Palestinian documentary photographer and visual storyteller. She grew up in the UAE, after which she moved to Lebanon to pursue higher education. Her work generally follows a social documentary pathway and focuses on colonial links to social, political and cultural themes. In 2022, Rasha graduated from the Documentary and Visual Photojournalism program at the International Center for Photography (ICP), New York, and won several grants including the inaugural Tom Stoddart award from the Ian Parry grant (2022) and the Revolutionary Storyteller Grants from Photographers Without Borders (2024). She has designed and produced several zines and has been collaborating with other multidisciplinary artists for different projects. Her work has been exhibited in Amman, Beirut, Berlin, Jerusalem, London, New York and Tokyo.
Michael Jabareen (1993) is an award winning Palestinian visual artist and performer, based between Jenin, Palestine, and Berlin, Germany. He was born in the city of Nazareth and raised in Jenin. In 2002, his family got completely separated by the zionist annexation wall. He completed his Bachelors in Architectural Engineering from Birzeit University (2016) and a Masters in Visual and Experience Design from the University of Europe for Applied Sciences in Berlin (2021). His work utilises the interconnection between visual and performative arts to illustrate social and political justice themes. He works with a wide range of expressive methods, such as illustration, comics, graphic design, animation, multimedia productions, theatre, and spatial design.
Cold Water: The memory of the past, the coincidence of the present and the desire for the future
How right is it for time to determine our destinies as Palestinians and force us to surrender to it as a given? Time is stripped of its power in the face of Palestinian persistence and tenacity, wherever he/she is and at all times. If he/she goes against every expected current, then the Palestinian is free even if one thinks he/she is restricted. Cold Water is a multidisciplinary visual project that combines photography and illustration, where the image and graphics intertwine, searching for the common thread between two stories written by two exiles, between exile outside the homeland and exile within it. Two timelines that were thought to be unconnected. Yet the memory of the past, the coincidence of the present and the desire for the future had another opinion. The project tells the story of two Palestinian artists: Rasha Al Jundi through the lens of her camera and Michael Jabareen through his drawings and artistic expression, until their meeting in 2022. Their individual stories pass through specific events that are stuck in their memories from the beginnings until the present day and beyond, which without intention shaped each of them as a person, a narrative and a destiny, so that their meeting would be a coincidence written with their own pens. In exile, time finds itself facing a crisis of identity and definition, as its sin splits and multi- plies with the number of exiles; those from whom their will was robbed by time, only to find itself in front of thousands of pens writing their own times as they wished. - By - Rasha Al Jundi & Michael Jabareen
Michael Jabareen (1993) is an award winning Palestinian visual artist and performer, based between Jenin, Palestine, and Berlin, Germany. He was born in the city of Nazareth and raised in Jenin. In 2002, his family got completely separated by the zionist annexation wall. He completed his Bachelors in Architectural Engineering from Birzeit University (2016) and a Masters in Visual and Experience Design from the University of Europe for Applied Sciences in Berlin (2021). His work utilises the interconnection between visual and performative arts to illustrate social and political justice themes. He works with a wide range of expressive methods, such as illustration, comics, graphic design, animation, multimedia productions, theatre, and spatial design.
Cold Water: The memory of the past, the coincidence of the present and the desire for the future
How right is it for time to determine our destinies as Palestinians and force us to surrender to it as a given? Time is stripped of its power in the face of Palestinian persistence and tenacity, wherever he/she is and at all times. If he/she goes against every expected current, then the Palestinian is free even if one thinks he/she is restricted. Cold Water is a multidisciplinary visual project that combines photography and illustration, where the image and graphics intertwine, searching for the common thread between two stories written by two exiles, between exile outside the homeland and exile within it. Two timelines that were thought to be unconnected. Yet the memory of the past, the coincidence of the present and the desire for the future had another opinion. The project tells the story of two Palestinian artists: Rasha Al Jundi through the lens of her camera and Michael Jabareen through his drawings and artistic expression, until their meeting in 2022. Their individual stories pass through specific events that are stuck in their memories from the beginnings until the present day and beyond, which without intention shaped each of them as a person, a narrative and a destiny, so that their meeting would be a coincidence written with their own pens. In exile, time finds itself facing a crisis of identity and definition, as its sin splits and multi- plies with the number of exiles; those from whom their will was robbed by time, only to find itself in front of thousands of pens writing their own times as they wished. - By - Rasha Al Jundi & Michael Jabareen
Robin Chaddah-Duke
UK
Robin Chaddah-Duke is a photographer and filmmaker from the United Kingdom whose work takes a grassroots documentary approach. Grounded in historical contexts, his practice examines how contemporary ways of life respond to and interact with the past. He is particularly interested in the intersection of local and global cultures, and how communities navigate and function in a globalized world.
Based in Wales for the past four years, Robin has produced and exhibited projects in close collaboration with the people who have inspired him. He is currently in India, continuing to develop and expand his practice.
An Urban Mosaic
These photographs, captured across various bustling cities of India, place Hindus and Muslims together. Within the dynamic urban landscapes of metropolitan India, these images reflect a shared cultural and social milieu that both communities inhabit. Within the ever- expanding urban sprawl, we can see a space in which the traditions of both groups meet modernity. This body of work subtly interrogates the enduring legacy of colonial-era politics that continue to influence contemporary India's social fabric. In presenting these images, the work not only showcases the "New India”. It also envisions an India where Hindus and Muslims, despite historical and political challenges, can live together harmoniously. It serves as a visual testament to the possibility of unity amidst diversity.
An Urban Mosaic
These photographs, captured across various bustling cities of India, place Hindus and Muslims together. Within the dynamic urban landscapes of metropolitan India, these images reflect a shared cultural and social milieu that both communities inhabit. Within the ever- expanding urban sprawl, we can see a space in which the traditions of both groups meet modernity. This body of work subtly interrogates the enduring legacy of colonial-era politics that continue to influence contemporary India's social fabric. In presenting these images, the work not only showcases the "New India”. It also envisions an India where Hindus and Muslims, despite historical and political challenges, can live together harmoniously. It serves as a visual testament to the possibility of unity amidst diversity.
Rooney Getu
Ethiopia
Rooney Getu
Ethiopia
Rooney Getu is a 23-year-old self-taught portrait, documentary, and street photographer based in Addis Ababa. As a photographer, she finds great satisfaction in creating emotional works of art, with gesture and emotion being central to her practice.
Redefining Imperfection, 2024
Freckles used to be judged as imperfections - but today they stand proudly as symbols of individuality, natural beauty, and truth.
Redefining Imperfection, 2024
Freckles used to be judged as imperfections - but today they stand proudly as symbols of individuality, natural beauty, and truth.
Rosalind Doherty
UK
Rosalind Doherty (b. 1983) is a British early-career photographer whose work explores the intersection of myth, fiction, truth, and gender. Through a post-documentary lens, she investigates historical events, often reimagining them through staged photography, archival images, and the inclusion of ephemera. Her practice is rooted in a research-driven approach, deliberately blurring the boundaries between fact and fiction. By doing so, she questions how history is written and remembered, and how these narratives shape contemporary understandings of identity and gender.
Dear Leaders
Dear Leader delves into the enigmatic world of cult leaders, exploring their personas through a post-documentary lens. My reimagining of historical events with staged photography, I blur the lines between myth, fiction and truth. Central to my work is an investigation into themes of gender and power. I am particularly intrigued by the dynamics of male behaviour, how charm and charisma are wielded by those who choose the path of cult leader, and the fragile egos that often underpin their actions. Through this project, I seek to challenge perceptions and provoke thought about the nature of leadership, manipulation, and the stories we choose to believe. My work is a reflection on the intersection of reality and imagination, inviting viewers to question the narratives that shape our understanding of history, identity and gender.
Dear Leaders
Dear Leader delves into the enigmatic world of cult leaders, exploring their personas through a post-documentary lens. My reimagining of historical events with staged photography, I blur the lines between myth, fiction and truth. Central to my work is an investigation into themes of gender and power. I am particularly intrigued by the dynamics of male behaviour, how charm and charisma are wielded by those who choose the path of cult leader, and the fragile egos that often underpin their actions. Through this project, I seek to challenge perceptions and provoke thought about the nature of leadership, manipulation, and the stories we choose to believe. My work is a reflection on the intersection of reality and imagination, inviting viewers to question the narratives that shape our understanding of history, identity and gender.
Shams Saber Radwan
Egypt
Shams Saber Radwan
Egypt
Shams Radwan (born 1998, Egypt) is a documentary photographer with a focus on capturing everyday moments and preserving cultural heritage. Through her lens, she offers perspectives that highlight the intricate details of community identity, particularly in Egypt. Since beginning her photography journey five years ago, Shams has earned recognition through numerous local and international competitions and exhibitions.
She received an Honorable Mention and Special Recognition for Excellence and Impact from the PhotoForme International Award for her project “Quarry Workers (Delayed Death)”, exhibited at Station Gallery in the UK. She was the only Egyptian and Arab photographer in the exhibition, alongside prominent figures such as Susan Meiselas. She won gold in the Pixoto Portrait Competition and received commendations in the 2025 Egypt Best Press Photography Awards for “There Was Life” and “Marmah of Upper Egypt”. Shams also secured second place in the Sinc & GLC competition, third place in Wiki Loves
Monuments, and won The Luupe’s “Pets” competition, where her work was featured in a global exhibition exploring human-animal bonds. In 2022, she was the only Egyptian selected among the Top Ten Global Photographers in the Scott Kelby Worldwide Competition. Her unique visual language won her awards in Float Magazine’s “Whispering Shadows”
contest and the All About Photo competition. She reached final stages in major international contests such as HIPA, URBAN Photo Arena, and VOX Albania.
In 2024, her photo was selected among the Top 40 in the Eyeshot Open Call and exhibited in Bologna, Italy. She has also been displayed in exhibitions in her homeland and across the world (United Kingdom, Italy, Albania, Germany, the United States of America). Shams aims to present stories of overlooked lives, capturing silent struggles and forgotten moments with authenticity and empathy, revealing thus both the beauty and pain in the human experience.
Egypt... As No One Sees It
Beneath the surface of a country with many yet familiar features lies a hidden layer of stories, lived quietly in the eyes, voices, and fleeting glances of people who rarely face the camera. Egypt, the real Egypt, isn’t displayed, it’s lived. Not in grand moments, but in subtle, honest details: in the heart of villages, markets, deserts, and narrow alleyways, live people who may lack choices but radiate unmatched dignity. With silent strength, they move forward, expecting little, asking for nothing, and grateful for what they have. Among crushed stones, quarry workers stand tall, not with muscle, but with unshaken eyes and in the clash of horses and knights, history unfolds, not as performance, but as a living legacy. A woman sits with her monkey in a forgotten corner, content with one more quiet day. She sees the world from her place as if she understands what others fear to say. A child leaps between boats on the Nile, light as someone untouched by life’s burdens. In the market, men wait with calm wisdom and patience that doesn't seek attention. These are Egypt’s silent heroes, no titles, no spotlight, just presence.
Egypt... As No One Sees It
Beneath the surface of a country with many yet familiar features lies a hidden layer of stories, lived quietly in the eyes, voices, and fleeting glances of people who rarely face the camera. Egypt, the real Egypt, isn’t displayed, it’s lived. Not in grand moments, but in subtle, honest details: in the heart of villages, markets, deserts, and narrow alleyways, live people who may lack choices but radiate unmatched dignity. With silent strength, they move forward, expecting little, asking for nothing, and grateful for what they have. Among crushed stones, quarry workers stand tall, not with muscle, but with unshaken eyes and in the clash of horses and knights, history unfolds, not as performance, but as a living legacy. A woman sits with her monkey in a forgotten corner, content with one more quiet day. She sees the world from her place as if she understands what others fear to say. A child leaps between boats on the Nile, light as someone untouched by life’s burdens. In the market, men wait with calm wisdom and patience that doesn't seek attention. These are Egypt’s silent heroes, no titles, no spotlight, just presence.
Shrouk Ghonim
Egypt
Shrouk Ghonim
Egypt
Shrouk Ghonim is a Cairo-based visual storyteller whose work weaves together photography and video to explore the delicate threads of human connection, identity, and social change. Her work delves into themes of social justice, women’s rights and cultural anthropology, often highlighting overlooked communities and the intimate moments that reveal the depth of our shared humanity. Guided by a deep sense of empathy, Shrouk’s practice is rooted in memory and resilience, offering quiet reflections that challenge dominant narratives while honoring the strength and complexity of her subjects. Shrouk graduated from the Faculty of Mass Communication at Cairo University with a degree in journalism. In 2022, she was awarded a scholarship from the Ecca Family, which allowed her to complete two diplomas at the Danish School of Media and Journalism (DMJX) in Aarhus, Denmark. Shrouk's work has received multiple accolades, including awards from the Egypt Press Photo Contest in 2020, 2021, 2022, and 2023. In 2021, she was also shortlisted for the Thomson Foundation Young Journalists Award. Her work has been exhibited in both Egypt and Denmark, including the “Sard” exhibition at Cairo Photo Week and a group exhibition at the Copenhagen Photo Festival.
The Last Song from the Sugarcane Fields
It was a sunny day when 29-year-old Rimas went, as usual, to a sugarcane field near her home in El Fasher, Sudan, accompanied by two of her neighbors when three members of the Rapid Support Forces followed them and raped the three women. That day changed Rimas’s life forever. The war in Sudan began in April 2023 between the Sudanese army and the Rapid Support Forces. It has caused widespread violence, displacement, and a severe humanitarian crisis, leaving millions without safety, food, or medical care. Rimas, a married woman, became pregnant as a result of the traumatic incident that took place. She was subjected to violence by her husband, after he knew about the pregnancy. Fearing for her safety, Rimas made the difficult decision to flee Sudan, embarking on a perilous journey with her eldest son and her unborn child. She arrived in Egypt, where she gave birth. Yet her struggle was far from over. Rimas now faces the daily challenges of rebuilding her life in a new city, navigating the hardships of being a single mother and a refugee, while still carrying the emotional scars of her past and the pain of the war she left behind.
The Last Song from the Sugarcane Fields
It was a sunny day when 29-year-old Rimas went, as usual, to a sugarcane field near her home in El Fasher, Sudan, accompanied by two of her neighbors when three members of the Rapid Support Forces followed them and raped the three women. That day changed Rimas’s life forever. The war in Sudan began in April 2023 between the Sudanese army and the Rapid Support Forces. It has caused widespread violence, displacement, and a severe humanitarian crisis, leaving millions without safety, food, or medical care. Rimas, a married woman, became pregnant as a result of the traumatic incident that took place. She was subjected to violence by her husband, after he knew about the pregnancy. Fearing for her safety, Rimas made the difficult decision to flee Sudan, embarking on a perilous journey with her eldest son and her unborn child. She arrived in Egypt, where she gave birth. Yet her struggle was far from over. Rimas now faces the daily challenges of rebuilding her life in a new city, navigating the hardships of being a single mother and a refugee, while still carrying the emotional scars of her past and the pain of the war she left behind.
Sira Konté Séne
Senegal
Sira Konté Séne
Senegal
Sira Konté SENE, born on October 9, 1997, in Senegal, is a passionate photographer who entered the audiovisual field after completing her baccalaureate. She pursued her studies at Sun Tech3, earning a BTS in audiovisual studies, where she gained skills in shooting, editing, and post-production. To further refine her expertise, she completed a video color grading course at the Centre Yannenga in Dakar.
Since graduating, Sira has worked on numerous photographic projects, exploring a variety of genres including portraiture, landscapes, and cultural events, particularly festivals. She has also taken part in several cultural events where her talent was recognized. Her experiences as an image assistant on professional film shoots allowed her to collaborate with industry professionals and further develop her technical skills.
Sira has had the honor of exhibiting her work during a masterclass organized by the Embassy of the Netherlands in Senegal, highlighting her recognition in the field. She also participated in an international masterclass for African women photographers in Mali, an enriching experience that shaped her artistic journey.
Driven by passion and determination, Sira Konté SENE continues to establish herself as a talented photographer, committed to capturing and sharing the beauty of the world around her.
Femme-Racines
Femme-Racine is a photographic series that explores the identity of African Black women through a powerful visual metaphor: the root. By linking the female body to natural elements such as tree roots and calabashes, I aimed to create an organic and poetic language, rooted in tradition while engaging with the present. The starting point is a question: what remains of our roots, of our heritage, when we look at Black women today? Who we are takes root in what has been passed down. The strength of African women of the past continues to live within us, silent but essential. Throughout African history, women have always been pillars of the land, the family, and cultural transmission. In this series, I partially covered a woman’s face with roots, allowing her eyes, full of dignity and resilience, to be seen. These roots, used in Senegal for their fertility and healing properties, evoke the connection between body, land, and memory. Traditional fabrics and the calabash, everyday objects that are also sacred, symbolize ritual, continuity, and resistance. Femme-Racine is a tribute to these women whose quiet strength and legacy shape African identity.
Femme-Racines
Femme-Racine is a photographic series that explores the identity of African Black women through a powerful visual metaphor: the root. By linking the female body to natural elements such as tree roots and calabashes, I aimed to create an organic and poetic language, rooted in tradition while engaging with the present. The starting point is a question: what remains of our roots, of our heritage, when we look at Black women today? Who we are takes root in what has been passed down. The strength of African women of the past continues to live within us, silent but essential. Throughout African history, women have always been pillars of the land, the family, and cultural transmission. In this series, I partially covered a woman’s face with roots, allowing her eyes, full of dignity and resilience, to be seen. These roots, used in Senegal for their fertility and healing properties, evoke the connection between body, land, and memory. Traditional fabrics and the calabash, everyday objects that are also sacred, symbolize ritual, continuity, and resistance. Femme-Racine is a tribute to these women whose quiet strength and legacy shape African identity.
Sitota Awash
Ethiopia
Sitota Awash
Ethiopia
Sitota Awash is a photographer based in Addis Ababa, Ethiopia. A graduate in Applied Biology from Mekele University, she currently teaches at School of Tomorrow while pursuing her passion for photography. Starting with street photography on her phone, she has developed a growing interest in exploring various genres, including documentary, fashion, portrait, and event photography, to refine her artistic direction.
Sitota also has a deep interest in filmmaking and cinematography. She studied filmmaking and photography for a year at Tom Film School, an experience that strengthened her creative vision. Committed to continuous learning, she regularly participates in workshops to gain new skills and connect with fellow creatives.
Moments in the barber's chair', 2025
Father and son getting haircuts, a moment of style and bonding.
Moments in the barber's chair', 2025
Father and son getting haircuts, a moment of style and bonding.
Skander Khlif
Tunisia
Skander Khlif
Tunisia
Skander Khlif (b. 1983, Tunis) is a visual artist and storyteller based between Munich and Tunis. His work explores the relationship between people, place, and memory through a poetic visual language grounded in lived experience. Originally trained as a human-machine engineer in Germany, he now focuses on long-term photographic narratives that examine environmental change, cultural identity, and resilience particularly in Mediterranean and North African contexts. He has held solo exhibitions in Tunisia and Europe, including Mediterraneo (Trier), Galerie Blumberg (Potsdam), and Archivart (Tunis). His work has received the Photomed Award, ISPF, the LensCulture 2025 Award, and Art Photo BCN. He has been nominated for both the Prix Pictet and the Leica Oskar Barnack Award.
Where Dust and Water Dream Together
This selection is part of an ongoing photographic series that explores the delicate balance between land and sea, memory and change. Set in Tunisia, the work reflects on a world shaped by both desertification and rising waters, not as opposites, but as intertwined forces. Rather than illustrating climate change through catastrophe, the series leans into nuance and poetics, tracing how human resilience and environmental transformation echo one another. This excerpt offers a quiet meditation on interdependence, impermanence, and the deep-rooted bonds between people and place.
Where Dust and Water Dream Together
This selection is part of an ongoing photographic series that explores the delicate balance between land and sea, memory and change. Set in Tunisia, the work reflects on a world shaped by both desertification and rising waters, not as opposites, but as intertwined forces. Rather than illustrating climate change through catastrophe, the series leans into nuance and poetics, tracing how human resilience and environmental transformation echo one another. This excerpt offers a quiet meditation on interdependence, impermanence, and the deep-rooted bonds between people and place.
Sogo Oladele
Nigeria
Sogo Oladele
Nigeria
Oluwasogo “Sogo” Oladele is a documentary photographer currently living and working between Lagos and Ibadan, Nigeria. He’s a VII Academy alumna, and his work focuses on stories around politics, social justice, human rights, identity and cultural preservation. In his work, he seeks to explore the Nigerian and African identity and our lived experience as people living in the 21st century, specifically as young Nigerians navigating the complicated and ever-changing environment in which they’ve found themselves. Through his work, he seeks to bear witness, interrogating both the mundane and the extraordinary bits of human existence. His goal is to create a body of work that helps people, particularly Africans, develop a better understanding of the world they live in and to create a portal through which future generations can interrogate and understand the past.
24 Years & Counting
24 Years & Counting The Oyo-Ogbomoso dual carriage highway is one of the most important highways in Nigeria, it serves as the fastest link between the Northern and Southwestern regions of Nigeria. Beyond Nigeria, it’s part of a trans-Saharan highway that passes through Nigeria, Niger and Algeria. However, 24 years after the road construction project was awarded, and with over $600 million spent on the project, the road still remains in a pitiable state, with stretches of kilometres still untarred. This documentary project takes on the task of exploring what happens when the welfare of citizens is so neglected that the construction project on a highway which connects two of Nigeria’s biggest regions remains uncompleted 24 years after work started. The project gives a visual report of the current state of the road, and the effect of a never-ending road project on members of the communities where the highway passes through. Most importantly, this project asks: with 24 years having gone by, will the count ever stop?
24 Years & Counting
24 Years & Counting The Oyo-Ogbomoso dual carriage highway is one of the most important highways in Nigeria, it serves as the fastest link between the Northern and Southwestern regions of Nigeria. Beyond Nigeria, it’s part of a trans-Saharan highway that passes through Nigeria, Niger and Algeria. However, 24 years after the road construction project was awarded, and with over $600 million spent on the project, the road still remains in a pitiable state, with stretches of kilometres still untarred. This documentary project takes on the task of exploring what happens when the welfare of citizens is so neglected that the construction project on a highway which connects two of Nigeria’s biggest regions remains uncompleted 24 years after work started. The project gives a visual report of the current state of the road, and the effect of a never-ending road project on members of the communities where the highway passes through. Most importantly, this project asks: with 24 years having gone by, will the count ever stop?
Sosina Mengistu
Ethiopia
Sosina Mengistu
Ethiopia
Sosina Mengistu is a self-taught photographer born and raised in Asosa, Benishangul-Gumuz, one of the most culturally diverse regions of Ethiopia. Growing up in this environment shaped her deep connection to culture, nature, and everyday life, which she now expresses through photography. Her interest in photography began with her father, who used to photograph family members and nature during his fieldwork. While studying at university, Sosina began traveling across Ethiopia, documenting ceremonies, landscapes, and the rhythm of daily life. During the COVID-19 lockdown, she started two personal projects that became turning points in her creative journey: Our Quarantine Life, a photo story of her cousin’s daily life that was later exhibited in London, and an ongoing self-portrait series exploring her emotions and inner world. With over five years of experience, Sosina has worked across documentary, editorial, commercial, and creative photography including music and art collaborations. She has also partnered with NGOs and other organizations, and her work has been featured in different African magazines. Currently, Sosina is developing long-term projects focused on women, tradition, culture and everyday life. Her photography is honest and observant, capturing small but meaningful moments with care and feeling.
Daughters of the Light
Daughters of the Light is a very personal project that began with my aunt, who became a nun shortly after graduating from college. I’ve been visiting her at the monastery every summer since I was nine years old. Over time, I quietly witnessed her spiritual journey, devotion, and the peaceful rhythm of her life. As I grew older, I felt a strong need to document not only her story, but also the lives of other nuns I came to know during my stays. Many of them deeply inspired me with their quiet strength, daily routines, and deep commitment. This project tells the story of women who live in the monastery, women who have chosen a life of faith, service, and discipline. In Ethiopia, the lives of nuns, especially their everyday work, rituals, and spiritual dedication are rarely shared. That was my motivation to begin this work. This project is my way of honoring them: their spiritual path, their discipline, and the light they follow with such grace. That’s why I call it Daughters of the Light, because they are guided by something eternal, something sacred that shines from within. They give their lives fully to Christ.
Daughters of the Light
Daughters of the Light is a very personal project that began with my aunt, who became a nun shortly after graduating from college. I’ve been visiting her at the monastery every summer since I was nine years old. Over time, I quietly witnessed her spiritual journey, devotion, and the peaceful rhythm of her life. As I grew older, I felt a strong need to document not only her story, but also the lives of other nuns I came to know during my stays. Many of them deeply inspired me with their quiet strength, daily routines, and deep commitment. This project tells the story of women who live in the monastery, women who have chosen a life of faith, service, and discipline. In Ethiopia, the lives of nuns, especially their everyday work, rituals, and spiritual dedication are rarely shared. That was my motivation to begin this work. This project is my way of honoring them: their spiritual path, their discipline, and the light they follow with such grace. That’s why I call it Daughters of the Light, because they are guided by something eternal, something sacred that shines from within. They give their lives fully to Christ.
Svenja Krüger
Germany
Svenja Krüger
Germany
Svenja Krüger is a documentary photographer and storyteller whose work explores the profound connections between life, death, and cultural traditions. After the loss of her father, Svenja founded “Stories Matter,” a platform dedicated to capturing the narratives that define our existence, especially in the face of mortality. Her work has taken her around the world, documenting death rituals such as Mexico’s Day of the Dead, Ghana’s fantasy coffins, Ethiopia’s Fasika ceremony and the sacred practices in Varanasi, India. Svenja’s “Hereafter” photo series delves into how facing mortality can inspire us to live with greater intention. Through her lens, Svenja invites us to see death not as an end, but as a profound influence that enriches the way we live our lives.
Undying faith: Tewahedo Church in Ethiopia
In 2021, an Ethiopian-American friend invited me to join him on a journey to trace his roots in Ethiopia. Somewhere along the way, I fell in love with his country, its story, its people and its spirit. Ethiopia is a place where history feels alive, where faith is not a relic of the past but a presence woven into every breath of daily life. Here, Christianity - embodied in one of the oldest churches, the Ethiopian Orthodox Tewahedo Church - thrives, not only in ancient texts but in the hearts of the people who live it. I hold deep respect for the Orthodox liturgies and rituals, which reveal the mystery, beauty, and wonder of the divine in ways that resonate with and inspire my own Christian beliefs. Experiencing Timket, as well as both Fasika (Easter) and Genna (Christmas) amidst the sacred rock-hewn churches of Lalibela has been a profound privilege. Fasika, in particular, is more than a ceremony; it’s a journey from death to life, where candlelit darkness gives way to a moment that feels like the very essence of resurrection. It mirrors the way I try to view the world, always seeking light in the darkness, always looking for the divine in the ordinary. Being welcomed into these sacred spaces has been one of my greatest honours, witnessing and connecting with a community where faith is alive, flowing through every prayer, song, and step. I continue to return to Ethiopia because it fills me with hope. In a world that often feels divided, seeing generations of Ethiopians gather in unity and peace amidst unrest, practicing traditions passed down for centuries, is a reminder of the resilience found in faith and community. Documenting their story with the reverence they deserve, is my way of sharing that hope with the world.
Undying faith: Tewahedo Church in Ethiopia
In 2021, an Ethiopian-American friend invited me to join him on a journey to trace his roots in Ethiopia. Somewhere along the way, I fell in love with his country, its story, its people and its spirit. Ethiopia is a place where history feels alive, where faith is not a relic of the past but a presence woven into every breath of daily life. Here, Christianity - embodied in one of the oldest churches, the Ethiopian Orthodox Tewahedo Church - thrives, not only in ancient texts but in the hearts of the people who live it. I hold deep respect for the Orthodox liturgies and rituals, which reveal the mystery, beauty, and wonder of the divine in ways that resonate with and inspire my own Christian beliefs. Experiencing Timket, as well as both Fasika (Easter) and Genna (Christmas) amidst the sacred rock-hewn churches of Lalibela has been a profound privilege. Fasika, in particular, is more than a ceremony; it’s a journey from death to life, where candlelit darkness gives way to a moment that feels like the very essence of resurrection. It mirrors the way I try to view the world, always seeking light in the darkness, always looking for the divine in the ordinary. Being welcomed into these sacred spaces has been one of my greatest honours, witnessing and connecting with a community where faith is alive, flowing through every prayer, song, and step. I continue to return to Ethiopia because it fills me with hope. In a world that often feels divided, seeing generations of Ethiopians gather in unity and peace amidst unrest, practicing traditions passed down for centuries, is a reminder of the resilience found in faith and community. Documenting their story with the reverence they deserve, is my way of sharing that hope with the world.
Thandolwemfundo Ngidi
South Africa
Thandolwemfundo Ngidi
South Africa
Thando Mfundo Ngidi b. 1991 is a Johannesburg-based photographer, visual artist, and facilitator whose work merges personal narrative with social documentary. Trained at the Market Photo Workshop in 2018 & 2019 respectively , Ngidi has developed a socially engaged practice rooted in storytelling, visual literacy, and mentorship. His photographic language weaves themes of masculinity, memory, and identity through experimental processes.
Ngidi has collaborated on youth-centered projects across Johannesburg, using image-making as a tool for reflection, confidence-building, and healing in underserved communities. He is the founder and Creative Director of Spoon Photography Projects, an initiative building creative infrastructure through accessible arts education.
His photography has also been featured in esteemed online publications such as Photoworks UK and Revue 6 Mois. Ngidi is a laureate of the Dior Emerging Talents Award 2022, a 2025 Africa Foto Fair mentee and previous Tierney fellowship 2019 & 2025 and Daniele Tamagni shortlist 2024. His work has been exhibited locally and internationally, including at Berman Contemporary, Jhb, Luma, Arles and the Pinakothek der Moderne, Munich. He currently lives and works in Boksburg.
Meditations on Be-coming and Contemporary De-colonial Black Epistemologies
Meditations on Be-coming is a constellation of simultaneous cosmologies: Excerpts in Beingtween, Prelude to the Quiet Unfolding: Durational Studies in Black Stillness, and The Quiet Unfolding. Together, they converge in an ongoing negotiation with identity, masculinity, and the quiet rituals of self-retrieval, epitomised by a nonlinear embodied cyclical practice of grappling politics of the body and the tussle between visibility and interiority. Excerpts in Beingtween, Prelude to the Quiet Unfolding, and The Quiet Unfolding constellate rather than succeed one another, each returning to and refracting , resisting chronology in favor of cyclical reappearance. Excerpts in Beingtween reflects on past selves and echoes through imaging otherwise by way of collage, confronting and fragmenting images to surface what remains unspoken. Prelude to the Quiet Unfolding occupies a liminal space, gathering stillnesses that hold space for what has not yet emerged. The Quiet Unfolding, is a meditation on strength in vulnerability, documenting the negotiation with an identity that is simultaneously becoming and unbecoming,remembered, unremembered, unsettled, and re-imagined in the space of intergenerational transmission. Across the series, the camera becomes conduit, a vessel of transmission, registering gestures and fragments that exceed intelligibility. These works resist finality, embracing the fragment, the blur, and the unfinished. Together, they form a ritual of witnessing that neither explains nor resolves, but attends, sitting with the self’s quiet unfolding as an act of care and endurance. rooted in Black epistemologies of refusal and aesthesis, the work privileges Becoming over Being, rupture over continuity, and embodied knowledge over the strictures of intelligibility, exploring knowledge through fragmentation, ritual, silence, and refusal.
Meditations on Be-coming and Contemporary De-colonial Black Epistemologies
Meditations on Be-coming is a constellation of simultaneous cosmologies: Excerpts in Beingtween, Prelude to the Quiet Unfolding: Durational Studies in Black Stillness, and The Quiet Unfolding. Together, they converge in an ongoing negotiation with identity, masculinity, and the quiet rituals of self-retrieval, epitomised by a nonlinear embodied cyclical practice of grappling politics of the body and the tussle between visibility and interiority. Excerpts in Beingtween, Prelude to the Quiet Unfolding, and The Quiet Unfolding constellate rather than succeed one another, each returning to and refracting , resisting chronology in favor of cyclical reappearance. Excerpts in Beingtween reflects on past selves and echoes through imaging otherwise by way of collage, confronting and fragmenting images to surface what remains unspoken. Prelude to the Quiet Unfolding occupies a liminal space, gathering stillnesses that hold space for what has not yet emerged. The Quiet Unfolding, is a meditation on strength in vulnerability, documenting the negotiation with an identity that is simultaneously becoming and unbecoming,remembered, unremembered, unsettled, and re-imagined in the space of intergenerational transmission. Across the series, the camera becomes conduit, a vessel of transmission, registering gestures and fragments that exceed intelligibility. These works resist finality, embracing the fragment, the blur, and the unfinished. Together, they form a ritual of witnessing that neither explains nor resolves, but attends, sitting with the self’s quiet unfolding as an act of care and endurance. rooted in Black epistemologies of refusal and aesthesis, the work privileges Becoming over Being, rupture over continuity, and embodied knowledge over the strictures of intelligibility, exploring knowledge through fragmentation, ritual, silence, and refusal.
Wang Xue Sophia
China
Wang Xue Sophia
China
Wang Xue Sophia is a visual artist working across photography, video, performance, and writing. Born in northwest China and based between the Netherlands and Qinghai, her practice explores cultural hybridity, bodily memory, and diasporic experience. With a background in journalism and fine arts, she engages with themes of otherness and intergenerational memory across multiethnic geographies, blending documentary and poetic strategies. Moving between visual and embodied methodologies, she integrates portraiture, rhythm, singing, and dance as forms of research and storytelling.
Henna
Henna is a photographic book that explores cultural memory and hybrid identity through intimate visual storytelling. Raised in an interethnic family in northwest China, I return to personal rituals, like my grandmother dyeing my nails with tea-mixed henna, as a lens to examine Muslim womanhood and cultural continuity. Using photography as a method of embodied observation, I move between Qinghai’s rural landscapes and urban centers like Guangzhou, capturing moments that reveal how women negotiate tradition and modern life. I work across portraiture, still life, and environmental scenes, often focusing on tactile details: red prayer mats, pink hijabs, crimson dates, that echo the symbolic color of henna. These recurring motifs create visual threads linking past and present, memory and transformation. I shoot primarily with natural light and in intimate proximity, emphasizing texture, atmosphere, and the unspoken presence of gesture. Rather than constructing a linear narrative, Henna builds a layered visual poem, fragmented, quiet, and sensory. It reflects a way of seeing shaped by my position as both insider and witness, using the photographic image not to fix identity, but to feel its fluidity. The project invites viewers into a space of reflection on cultural resilience, feminine rituals, and the aesthetics of in-betweenness. Through sensory narratives, it reconnects the photographer with her “mother tongue,” while also challenging the binaries of center and periphery and deepening the exploration of what it means to exist in-between.
Henna
Henna is a photographic book that explores cultural memory and hybrid identity through intimate visual storytelling. Raised in an interethnic family in northwest China, I return to personal rituals, like my grandmother dyeing my nails with tea-mixed henna, as a lens to examine Muslim womanhood and cultural continuity. Using photography as a method of embodied observation, I move between Qinghai’s rural landscapes and urban centers like Guangzhou, capturing moments that reveal how women negotiate tradition and modern life. I work across portraiture, still life, and environmental scenes, often focusing on tactile details: red prayer mats, pink hijabs, crimson dates, that echo the symbolic color of henna. These recurring motifs create visual threads linking past and present, memory and transformation. I shoot primarily with natural light and in intimate proximity, emphasizing texture, atmosphere, and the unspoken presence of gesture. Rather than constructing a linear narrative, Henna builds a layered visual poem, fragmented, quiet, and sensory. It reflects a way of seeing shaped by my position as both insider and witness, using the photographic image not to fix identity, but to feel its fluidity. The project invites viewers into a space of reflection on cultural resilience, feminine rituals, and the aesthetics of in-betweenness. Through sensory narratives, it reconnects the photographer with her “mother tongue,” while also challenging the binaries of center and periphery and deepening the exploration of what it means to exist in-between.
Wilfrid Massamba
Congo
Wilfrid Massamba
Congo
Wilfrid Massamba is a Congolese visual artist, photographer, and filmmaker whose work explores memory, identity, and transmission through photography, video, installation, and writing. For over two decades, he has cultivated a multidisciplinary practice marked by sensitivity to human experience, collective memory, and the unseen.
His work has been exhibited internationally in cities such as Amman, Cartagena, Bogotá, and Pointe-Noire. In 2013, he published Les Artistes Invisibles, a photographic book prefaced by Alain Mabanckou, dedicated to lesser-known Congolese artists. On April 9, 2025, he presented The Tree of Voices at the Centro Nacional de Memoria Histórica in Bogotá during Colombia's National Day of Memory and Solidarity with Victims of the Armed Conflict. Installed around a magnolia tree, a symbol of dignity and nobility evokes a dialogue between past and present, paying tribute to the victims the work paid tribute to the victims while linking past and present.
Massamba is also the curator and founder of the Quibdó Africa Film Festival, a platform fostering dialogue between Africa and its diasporas, and has served on international juries as well as evaluator for creative support programs. His artistic journey remains deeply committed, with each photograph standing as a fragment of living memory and a poetic gaze toward the future.
Mourning
In many Western societies, death remains a taboo subject, often approached with solemnity, sadness, and a strict sense of formality. Funerals are typically somber ceremonies where grief is expressed quietly and the separation between the living and the dead is sharply defined. In contrast, many African cultures embrace a different philosophy, resulting in funeral rites that differ significantly from Western traditions. In African traditions, death is not viewed as an end, but as a continuation of life in a spiritual realm. Ancestors remain present through a strong spiritual connection with the living, forming an unbroken link between generations. Death is seen with a sense of hope, marking a reunion with those who came before, rather than an irreparable loss. In Western cultures, particularly those influenced by Christianity and Judaism, death often symbolizes a profound and final separation. Mourning emphasizes absence, distance, and irretrievable loss. In Africa, however, the deceased continue to play an active role in their communities as protective spirits, and are considered integral to the living world. This cyclical view of existence fosters a more celebratory attitude towards death. Instead of merely mourning, communities honor the transition to a new phase of life. Another striking difference lies in the treatment of the body. In many African societies, the body is treated with great reverence through specific rituals to assist the journey to the afterlife. In contrast, Western customs favor discretion; the body is typically confined to a coffin, with a subdued ceremony marking its departure.
Mourning
In many Western societies, death remains a taboo subject, often approached with solemnity, sadness, and a strict sense of formality. Funerals are typically somber ceremonies where grief is expressed quietly and the separation between the living and the dead is sharply defined. In contrast, many African cultures embrace a different philosophy, resulting in funeral rites that differ significantly from Western traditions. In African traditions, death is not viewed as an end, but as a continuation of life in a spiritual realm. Ancestors remain present through a strong spiritual connection with the living, forming an unbroken link between generations. Death is seen with a sense of hope, marking a reunion with those who came before, rather than an irreparable loss. In Western cultures, particularly those influenced by Christianity and Judaism, death often symbolizes a profound and final separation. Mourning emphasizes absence, distance, and irretrievable loss. In Africa, however, the deceased continue to play an active role in their communities as protective spirits, and are considered integral to the living world. This cyclical view of existence fosters a more celebratory attitude towards death. Instead of merely mourning, communities honor the transition to a new phase of life. Another striking difference lies in the treatment of the body. In many African societies, the body is treated with great reverence through specific rituals to assist the journey to the afterlife. In contrast, Western customs favor discretion; the body is typically confined to a coffin, with a subdued ceremony marking its departure.
Yawo Enok Tsevi
Togo
Yawo Enok Tsevi
Togo
Yawo Enok Tsevi is an independent visual storyteller specializing in documenting real-life experiences. He is based in Lomé, Togo, and his work mainly focuses on societal issues that impact people’s daily lives, with a particular interest in showcasing and highlighting the traditions and cultures of his country. He sees himself as a guardian of collective memory for future generations.
The nets of survival
In the fishing port of Lomé (Habo), fishing is much more than a job: it's a tradition, a daily struggle and an essential source of subsistence. It's a way of life deeply rooted in the community, where the port becomes a place of exchange and survival. Here, fish is caught, sold and traded, supporting thousands of families and contributing to the local economy. This series of photos reveals fragments of their daily lives, between resilience and heritage.
The nets of survival
In the fishing port of Lomé (Habo), fishing is much more than a job: it's a tradition, a daily struggle and an essential source of subsistence. It's a way of life deeply rooted in the community, where the port becomes a place of exchange and survival. Here, fish is caught, sold and traded, supporting thousands of families and contributing to the local economy. This series of photos reveals fragments of their daily lives, between resilience and heritage.
Yeabkal Yetneberk
Ethiopia
Yeabkal Yetneberk
Ethiopia
Yeabkal Yetneberk, born in 2000 in Harar, Ethiopia, relocated to Addis Ababa at age 13 in search of better opportunities. Surrounded by art from a young age, he discovered photography through capturing black-and-white images on his phone, which later earned him recognition in LinkUp Addis’s Spotlight Tuesday. Now working as a videographer and editor, Yeabkal continues to pursue personal photography projects that reflect his Ethiopian roots and cultural heritage, striving to create visual stories that inspire and resonate.
A Song Half Remembered, 2024
A reflection on memory, recognition, and the quiet erosion of time — inspired by a return to Harar, where a once-familiar priest no longer recognized the face before him. The encounter unfolds in silence: brief glances, hesitation, and the unspoken distance between what was once known and what has been forgotten. The fragile space where memory falters. The piece speaks to how time reshapes even our most intimate connections, turning what was once familiar into something ghostlike, lingering just beyond reach.
A Song Half Remembered, 2024
A reflection on memory, recognition, and the quiet erosion of time — inspired by a return to Harar, where a once-familiar priest no longer recognized the face before him. The encounter unfolds in silence: brief glances, hesitation, and the unspoken distance between what was once known and what has been forgotten. The fragile space where memory falters. The piece speaks to how time reshapes even our most intimate connections, turning what was once familiar into something ghostlike, lingering just beyond reach.
Yvann Zahui
Côte d’Ivoire
Yvann Zahui
Côte d’Ivoire
Zahui Yvann (Côte d’Ivoire, 2001) is a multidisciplinary artist working in photography, graphic design, and moving images. Rooted in Afrofuturism, his work explores African identity and societal issues. He studied Filmmaking and Multimedia Graphics at Accra Film School before joining Voodoo Communication as a Graphic Designer (2019-2022) and later MW DDB as an Art Director (2022-2024). A Fellow CatchLight Student under Aida Muluneh’s mentorship, he has worked on projects like Road to Glory - The Nobel Peace Prize 2020. His work has been showcased internationally, including at the Photo Vogue Festival (Milan, 2023) as one of 40 selected artists by Vogue Italia. In 2024, he joined NOOR Foundation’s Advanced Mentoring Programme and received the Chevening Scholarship to pursue a Master’s in Photography at the Royal College of Art. He also got selected for ADIDAS x GUAP - THE ORIGINALS CREATOR NETWORK in London. His works have been exhibited at MuCAT, Windsor Gallery, and the Biennale Internationale du Design Saint-Étienne.
Journey of the Body and Soul
What happens after we die? Do our choices determine our afterlife? Is death a curse, a blessing, or simply an inevitable transition? Journey of the Body and Soul explores this passage, questioning whether death is truly an end or a transformation in the Ivorian cultures. What happens in that irreversible moment when we cross the threshold between existence and the unknown?
Journey of the Body and Soul
What happens after we die? Do our choices determine our afterlife? Is death a curse, a blessing, or simply an inevitable transition? Journey of the Body and Soul explores this passage, questioning whether death is truly an end or a transformation in the Ivorian cultures. What happens in that irreversible moment when we cross the threshold between existence and the unknown?
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