INTERVIEWED BY Gina Dionisio PHOTOS Courtesy of Gabrielle Kannemeyer and Ebony/Curated

Rooted in years of immersion, photographer Gabrielle Kannemeyer’s exhibition – As Necessary as Bread – documents the horse cultures of her community in the Western Cape, specifically in Cape Town and the Overberg. Through her lens, horse, rider and photographer converge as collaborators, holding the tension between colonial history and contemporary reclamation.

Here, she shares the personal and collective histories that shaped this body of work.

How has your upbringing and family background influenced your artistic journey, in general and in terms of As Necessary as Bread?

“My father has always been a big part of my journey. He left school quite young and became a plumber, like my grandfather before him, who was a builder, just like my great-grandfather, and my uncle, who’s a carpenter. I come from a long line of independent tradesmen. People who make things with their hands. My family is full of storytellers by nature; that’s a big part of how we connect, by trading stories.

“Through family, I came to know and love horses. My father would take me along to friends and family and even clients on job sites, who owned horses. In these familiar spaces, I felt a sense of deep belonging when I was a young girl.

“Later, as I entered other equestrian spaces when I learned more about disciplines like dressage and showjumping, I became aware of how few people from my community were present there. That feeling stayed with me. As Necessary as Bread is, in many ways, a return to my own history. I think it’s also an act of reclamation. It’s maybe my way of saying: we were here, we are here.”

What drew you to focus on horse culture as a way to explore South African histories of displacement, erasure, and continuity?

“We make sense of the world through what we know, and what I know is my family, my community, and horses. There was a period in life when I felt quite dislocated and estranged from these things. I found myself longing to reconnect. Horses always felt like a gift from my father, a constant when very few other things were. They became the thread that guided me back to where I started.

“Like many people my age, I grew up hearing stories about the beautiful home and land my family once owned in Stellenbosch and how it was taken from us during the Group Areas Act. My dad has very few photographs from that time, so for me it feels more like myth than memory. A kind of inheritance made up of stories.

“Those stories were always told with a mix of pride and grief, as if to say: we are here today, and we carry on despite everything.

“The horse culture I grew up around never fully resembled the magazines and books I collected as a child. There were almost no equestrian images that reflected my reality or the people I knew. The horse was the constant, yes, but the representation was missing. Later, my dad would take me to local eventing shows, and I learned other riding styles, expanding my sense of the culture and its diversity.

“Studying fine art taught me how to research and contextualise what I was seeing. When I returned to horses as an adult, it wasn’t just out of nostalgia; it was to understand this culture deeply. To trace its histories and to explore why it matters. Photographing horse culture in my community became a way to insist on continuity, to resist erasure and to build something that could outlast memory.”

You describe this body of work as a “counter-archive.” Could you expand on what counter-archiving means to you in this context?

“For me, archiving means being both witness and collaborator. I see it as being a conduit for stories that already exist within my community but might otherwise remain invisible.

“A counter-archive resists absence. It is an archive that speaks back to the dominant, class-coded imagery that has historically excluded certain people from equestrian narratives.

My work is collaborative and participatory, rather than objective extraction. It is about making space for presence, joy and cultural memory where absence has prevailed.“

Were there specific moments or encounters while making this body of work that surprised or shifted your perspective?

“Absolutely. It’s one thing to be immersed, holding subjective views through participation, but the camera forces you to step back, even briefly, and see differently.

“Travelling to new places and hearing people’s stories constantly challenge my perspective. I think I value that the most: being surprised, being forced to question my assumptions, and seeing through someone else’s eyes. Those moments of exchange have deepened my understanding and my sense of responsibility to the work.”

How do you hope audiences will engage with and respond to the exhibition?

“I hope people take their time with these images, long enough for them to stir something inward. I want them to feel the beauty, yes, but also to be curious about expanding their perception of their immediate environments.

“If the work can complicate what someone thought they knew about horses, leisure, or who ‘belongs’ in equestrian spaces, then I think that’s also great.”

Can you talk us through your creative process?

“My process is rooted in immersion and relationship-building. I spend time simply being present – listening, talking, learning about families’ shared histories with horses.

“Sometimes I set up backdrops and collaborate on staged portraits at people’s homes or at the shows. Other times, I spend hours at shows, moving between people, observing and photographing moments as they unfold. I often am invited to join and photograph families for special occasions like matric balls, confirmations and weddings, where horses are part of the celebration.

“Sometimes an image appears fully-formed in my mind, and if it resonates with the people involved, we go and make it together. The process is fluid and intuitive, always guided by a mix of observation and collaboration.”

As Necessary as Bread is showing at Ebony/Curated until 25 October 2025. | ebonycurated.com

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Kenyan-born photographer Thandiwe Muriu tells the story of African identity, beauty and individualism through her work – and her new book, Camo.

I wanted to celebrate everything that I had struggled with in my own beauty journey – my hair, my skin, my identity as a modern woman in a traditional culture,” says photographer Thandiwe Muriu about her debut photo book Camo.

Through saturated portraits that create a surreal illusion between the subject and the background, Thandiwe aims to confront issues surrounding identity and self-perception while unfolding a new perspective on the empowerment of women. “I didn’t plan for the series to be exclusively about women, but it was a natural starting point for me,” she says.

Born and raised in Nairobi, Kenya, Thandiwe’s connection with photography started at a young age. By 23, she was working professionally, shooting campaigns for prominent companies in East Africa. The complexities of being a woman in a male-dominated industry led her to interrogate the role of women in society and the place of tradition, questioning her own self-perception. These experiences fuelled the Camo series, allowing her to explore a photographic language while interacting with her culture in new ways.

Camo began as a simple appreciation for African fabrics, but quickly led Thandiwe to explore and study in depth what connotes African beauty – particularly hair, clothing and accessories. It has resulted in a visual art book that pays homage to the techniques and mastery in African hairstyles while reconstructing everyday items as accessories. These include using hairpins and dish scrubs to create a pair of sunglasses, or Afro combs as hair accessories. “The objects I use are items I interact with every day as a Kenyan,” says Thandiwe. “They are an integral part of our daily lives, and often a big component of beauty culture.”

There is a systemic process to creating a Camo artwork. It starts with Ankara fabric, which is made using a wax-resist dye technique (similar to batik). The striking colours and patterns on the fabric are used for both the background and the outfit, creating a camouflage effect whereby the subject blends into the background. Thandiwe collaborates with dressmakers in Nairobi to stitch the outfits.

Designing (and creating) the accessories is the next step. “This is the most enjoyable part of the creative process – it requires me to see ordinary objects as the foundation for exciting fashion accessories,” Thandiwe says. She also collaborates with hairdressers to create hair artistry through braiding and weaving.

“When all the elements are finally ready, I bring them together on one subject, in one photograph, to become part of the mesmerising Camo series,” she says.

Thandiwe pairs each image with a proverb or words of wisdom that have been passed down through generations in African cultures. Her use of traditional proverbs creates interconnectedness between the old and the new. “It’s an opportunity for people to begin to think about and hear our proverbs in a new and exciting way,” she says.

Through this photo series, Thandiwe hopes that a younger generation will develop a fresh appreciation for the past – and that the traditional elements within the series will result in interactions and conversations about the history of African beauty and culture, and how they have evolved through time. | thandiwemuriu.com

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Leica Ambassador Ramzi Mansour is known for his emotive black-and-white photography. We caught up with him to find out more about his photographic process and what we can expect from his upcoming exhibition with Martin and Sam Osner titled Memoirs of Light.

When and how did you first get into photography?

I had always been interested in pictures and movies, in the visual arts, you could say. During the pandemic, I picked up a camera one day and started playing around with taking photos of my family. I had plenty of time on my hands so I used the opportunity to immerse myself in photography and studying light which appeals to me.

How would you describe your work in four words?

Raw, sensual, authentic, emotive.

What draws you to capturing the human form? Have you always preferred capturing people over objects or spaces?

The core essence of my photography to date is really about capturing the emotion in my subject. I dabbled with different forms of photography, including landscapes and nature shots, but I kept coming back to the connection between myself and another human being. This really inspired me to create artworks within my photographs.

You manage to capture a sense of intimacy and emotion in your work. How do you go about approaching a subject?

The process for me is about creating a safe environment where honesty is foregrounded as we explore vulnerability within the framework of what we are creating. I try to be as authentic as possible to allow the subject to reciprocate the emotion we are working towards.

How do you work to get the best out of your subjects?

I think of every subject as my wife, my daughter, my mother or sister. If it’s a photo that I wouldn’t take of them, then I won’t take it of my subject. This integrity is the anchor to my process. I earn their trust where they feel safe and comfortable to explore the emotional requirement we need for the photograph. And we laugh a lot on set!

Whose work do you admire?

I really admire Peter Lindbergh’s work for the chic storytelling in his work; Vincent Peters for his sensational portraits and use of light; and Allan Schaller for his ground-breaking street photography style and his mastery of geometric shapes.

What is the concept behind Memoirs of Light?

The concept was to create a timeless and ethereal body of work that would showcase the raw vulnerability of the human condition through a modern female aesthetic and, ultimately, to tell the story of hope through light.

How did this exhibition come about? 

I wanted to challenge myself to stretch beyond my signature black-and-white style to mixed media fine-art photography. It just so happened that the Osner Gallery were looking for someone to represent in that particular space and so it was a serendipitous meeting of minds. I was taken aback by the authenticity of Martin and Sam Osner and knew that this match would allow all of us to grow and create something special.

What was the most challenging aspect of creating work for this exhibition?

Thinking outside the box, for sure. Going from a photographic still to being able to incorporate my signature photographic DNA, but now in an art form – it is something very new for me. This required a new level of vulnerability for me; trusting that I could not only include my fundamental form but also transcend it to a fresh, unknown outcome.

What’s your best piece of advice for the amateur, everyday photographer?

I have three pieces of advice: The best camera you’ll ever have is the one on you; as long as your intention is pure, don’t worry about the outcome; and trust is earned not given.

Any exciting projects coming up for the latter half of 2023?

My wife, Nicole, and I have been talking about producing another book. We released Resilience, a not-for-profit book exploring the journeys of South African women living with cancer, in 2021. Perhaps looking at doing an exhibition in Europe. But for now, spending time with my wife and children and enjoying every moment that this rollercoaster of life offers. 

Memoirs of Light featuring works by Ramzi Mansour, Martin and Samantha Lee Osner is on from 16 March until 8 April 2023 at The Argyle in Woodstock, Cape Town.

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The new Roger Ballen Centre for Photographic Arts in Forest Town, Johannesburg has been designed by architect Joe van Rooyen as a new home for the world-renowned photographer and his medium.

What might a Roger Ballen building look like? The legendary photographer’s work is known for its psychologically dark, surreal and disturbing qualities. He first found fame nearly four decades ago, documenting outsiders in small South African towns and on the platteland, and caused controversy with his unflinchingly grotesque, often freakish representations of the people he encountered. Moving away from documentary photography, he then took the medium on a journey inwards, combining mysterious tableaux, stark theatrical sets and props with elements of performance and art brut. In the process, he developed what can now only be described as a “Ballenesque” aesthetic, and found international renown.

But short of a stripped-out, derelict rural cottage or an abandoned asylum – the kind of architecture his work tends to haunt – it’s difficult to imagine how the Ballenesque vision might translate into architecture. That job fell to Joe van Rooyen of JVR Architects – and the result is, perhaps surprisingly, beautiful.

The centre needed to be multifaceted, incorporating an office and the admin functions of Roger’s work, including his foundation for the advancement of photography and other art forms, a space for group exhibitions of painting, installation and other arts, and an archive, all with the flexibility to accommodate any other ideas that crop up.

The Ballen Centre completes a trio of cultural centres along Jan Smuts Avenue, joining the Joburg Contemporary Art Foundation and the Johannesburg Holocaust & Genocide Centre nearby, and giving the primarily suburban area a clearer public character.

Looking for more art or architectural inspiration? Read about Jan Ernst’s partnership with Galerie Philia.

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Photographer, filmmaker, art director and co-founder of I See A Different You, Fhatuwani Mukheli shares how he’s been rekindling his passion for art and illustration. 

When you first started sharing your portraits on Instagram, you said you hadn’t drawn for six years. What made you start again?

I got to a point where I wasn’t enjoying my feed – it felt monotonous. It was all about my lifestyle and things that don’t really mean anything to me. So I thought I’d stop posting meaningless things and share a piece of me: My journey to rediscover myself in art again.

You are known for portraiture. What is the secret to capturing such intimate, honest images? 

The secret is in the eyes. It’s a skill I learnt through my photography, a journey that’s definitely shaped my illustrative portraiture. But most of my work is inspired and influenced by my advertising experience. Advertising helped me understand how ideas work and branding myself as an artist.

You use the hashtag #arttherapy with your posts. Do you find art a healer? 

Art is an amazing healer. When I started drawing again I was in a weird space in my life and art is where I found calmness and ease. It’s so therapeutic.

On Behance you say, “My mom calls me Fhatuwani. The streets call me Steaz.” Can you elaborate on this?

Steaz is my childhood graffiti name. I named myself that because I was really good with wild style tagging and the name kind of stayed with me. I might use it again when I revisit my graffiti element of art.

My name has always been a complicated situation from a young age. I went to Venda for the first half of primary and I was called by my Venda name, Fhatuwani. When my mother moved me to a multiracial school, I had to switch to my English name, Innocent, because no one could pronounce my name properly. I was also shy that I would be the laughing stock at my new school for being Venda.

I realised as I became wiser that my Venda name is much stronger than “Innocent”; it holds so much meaning and strength. Fhatuwani means “be careful, be awake, be wise”.

What (or who) inspires you?

I’m inspired by my business partners [and co-founders of I See A Different You] Neo Mashigo and Vuyo Mpantsha.

Are there any other artists who have influenced you?

I’m inspired by Wonder Buhle Mbambo (@wonderbuhle), Harmonia Rosales (@harmoniarosales), Ibe Ananaba (@ibeananaba) and Linsey Levendall (@linsey_levendall).

If you could collaborate with a South African artist who would it be?

Wonder Buhle Mbambo. [Read VISI’s interview with him here.] His work is so fresh and speaks to me in so many ways. He’s cool, too, and very humble; I’ve learnt from him without him knowing. I personally think if ever we were to find ourselves in a collaboration, it would be the best thing to come out of SA – haha!

Where do you call home? 

Sontonga Lofts in Braamfontein. I love how much natural light my apartment has and it’s just peaceful. I’m surrounded by cool people. My favourite part of my house is the patio. [Take a look inside Sotonga Lofts here.]

If there was anywhere else in the world you would like to live, where would that be?

Japan.

If you weren’t an artist and creative, what would you be?

I would be Usain Bolt or Wayde van Niekerk! Just kidding, but I would be an athlete.

Do you have a career highlight?

How I got my first job at DraftFCB as an art director. It’s long story for another day.

What is the last piece of design/art you purchased?

I haven’t bought any as yet, but planning to buy a few pieces from [photographer] Andile Buka (@buka_andile).

Are you working on anything specific or do you have any upcoming exhibitions?

I’m just working on producing my work, nothing specific. I’m listening to what my soul tells me and working on it. I have had a few offers for an exhibition both locally and internationally, so watch this space.

Stay up to date with Fhatuwani’s news – like his lockdown collab with Converse – by following him on Instagram (@fhatuwanimukheli) and his creative agency @iseeadifferentyou.

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South African photographer, filmmaker and creative director Gareth Pon, who is currently based in the US, captures mesmerising images of architecture, cities and landscapes across the globe. VISI chats to him to find out more about his favourite places to photograph, his dream of travelling to space and why you can spot tiny rockets in all his images.

When did you first get into photography?

I started doing photography while I was studying Film & Television at The Open Window in Centurion in 2012. I actually started doing photography purely as a means to craft my composition for Cinematography – I had no interest in actually taking photos, but rather I was being intentional around bettering my craft. Slowly the mediums of film matched with photography and it became a passion of mine. I saw the power of telling stories in stills and moving image.

What do you love most about capturing architecture through photography?

My dad is an architect, so when I visit new spaces or cities it’s really the first thing I notice – not necessarily the landmarks in the city but rather how the city forms itself into a skyline and the hidden shapes that balance symmetry and asymmetry. I love leading lines and perspective, pattern and repetition, and I find a lot of that in photographing architecture. I always challenge myself to try capture an image that you can’t google. I also take a lot of images just for the satisfaction of composing an image, most of which I don’t actually publish.

Do you have a favourite building that you’ve shot? If so, what was it about the building that stood out for you?

Not a specific building, but rather a structure. The image was captured in Nigeria under the Third Mainland Bridge and it showcases an infinite perspective created by the pillars of the bridge.

Your Insta bio states: Dream: space travel. How does this tie in with your fun idea of inserting tiny rockets into your images for people to spot?

I’ve dreamt of space travel before space travel was mainstream – it’s just always been an impossible dream that I know will come true one day. It’s driven me to be more curious, craft my career and find fun ways to integrate space and sci-fi into my work. The rocket is actually my logo, so hiding it also doubles up as a really fun, non-intrusive way to watermark my images while still adding a reason for people to pause and look at finer details of my images while they search for the rocket. Also, space is the ultimate inspiration for creativity, so that drives me to do what I do until I experience the overview effect one day.

Your work features amazing spaces and scenes from across the globe. Is there a city you most enjoy shooting in? If so, why?

I absolutely love Tokyo for urban photography and Jordan for nature. These two cities have by far been my favourites that I’ve visited. Tokyo is the ultimate showcase of variety – it gives you beautiful city views, while the culture is naturally intertwined in the space. Jordan is like nothing else I’ve seen – its rolling mountains and earthy red hues make it incredibly beautiful.

Any exciting projects coming up in 2020 that you can share with us?

I’m currently going through a rebrand by exploring where I’ve been and where I want to go. I also currently work full time at Annex Bookstore in Atlanta where I lead the team that does all the creative work for @cocacola. So that has been my priority and the most exciting work I’ve done recently. We have done a plethora of work, collaborations with artists and exciting projects that have really allowed me the opportunity to bring one of the most iconic brands to life on social.

Follow Gareth on Instagram to view more of his mesmerising work.

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In the latest issue of VISI – on sale now – we commissioned up-and-coming portrait photographer Lutendo Malatji to capture two award-winning designers in our new Curators series. We found out how this Soweto-born-and-raised talent approaches his art, unpacks a brief and gets the best out of his subjects. 

Tell us a little about yourself. How did you get into photography?

I was born and raised in Diepkloof Zone 2, Soweto. I went to Queens High School where I discovered a love of art through my favourite subject, Art and Design. I wanted to be an architect. That’s what I thought I’d study, but I wasn’t accepted at the University of Johannesburg, which lead me towards a more artistic design path.

I discovered the Design School Southern Africa [now Vega] where I studied graphic design. I found there was a lack of the high-quality images I was looking for, so I decided to study photography at the Market Photo Workshop. That’s when I fell in love with photography and the idea of fusing it with my art background. I came across an academy called Umuzi where I put my skills to the test through real client work. An internship at The Mail & Guardian, followed and now I’m working independently.

Did you always prefer portraiture?

I’m an introvert who simultaneously enjoys working with people. I thought I’d be a photographer that was always in the background, far from people, but I discovered that my passion is portraiture. 

What is one of your earliest memories of photography, art and design?

I remember getting my first analogue camera and having to process my first film roll of film. It was one of the scariest yet beautiful moments of my life to finally see what I had captured.

How would you describe your work?

Unique, authentic, detailed and emotive.

Whose work do you admire?

I look up to Zeno Petersen (@zenography) and Ben Bond (@benbond_photographer). They’re artists who have shaped my skills and how I look at photography. I’d classify Justice Mukheli (@justicemukheli) as an idol.

Joseph Mosandiwa photographed by Lutendo, 2019.

Film or digital? 

I prefer digital, but it was through film that I fell instantly in love with photography. With digital, I appreciate having the ability to fix and rectify a mistake on the spot.

I once had an allergic reaction that blinded me for a week. Ever since then I’ve struggled with my eyesight, especially in extremely hot weather conditions or after starring at the computer screen for a while. I went to the doctor and I got it fixed, but it does come back from time and time so I find it useful to have a viewfinder.

What camera do you use?

A Nikon D750. I like Nikon and Canon, but I’m partial to my Nikon.

You manage to capture a sense of intimacy in your portraits. How do you go about approaching a subject?

I have to visualise the image before taking the shot. If I don’t see it in my mind then there’s no shot for me. I make sure that the image speaks to me before I’ll share or publish it. It has to move me. It must be timeless.

What do you hope to capture and convey?

I make sure that the image speaks for itself. It must convey a message.

How do you work to get the best out of your subjects?

I get to know them so that I can relate to them. I try to find myself in their lives. Whatever the conversation brings, I use it to make a great portrait that reflects the emotion and story I want to convey.

How did you approach the VISI Curators brief with Mpho and Thabisa?

The challenge with the VISI brief was that I love engaging with my subjects before a shoot to get a sense of their personalities, so that I can bring that out in the images. This time, I met them on the day, but I found it easy to work with Mpho [Vackier of TheUrbanative] and Thabisa [Mjo of Mash.T Design Studio] They’re lovely people and I found myself snapping away.

Thabisa Mjo photographed by Lutendo for VISI Issue 104, 2019.

Mpho Vackier photographed by Lutendo for VISI Issue 104, 2019.

Are you working on an exhibition of body of work?

I’m busy with something that I can’t share much about because I want to build the project to make sure it tells the story that’s close to my heart. I hope to exhibit it next year.

What’s your best piece of advice for the amateur, everyday photographer?

There are a lot of photographers out there, so always follow your heart and make sure you tell your story as best as you can. Be unique. Be real. Make sure you are a force to be reckoned with.

Practically, do some research, go on YouTube, learn new techniques and give yourself mini tasks to do daily, like going out and shooting some street photography. Talk to strangers and seeing if you can get the best out of them. I dare you!

Follow Lutendo on Instagram (@luu_artphotography), check out his portfolio here, and pick up a copy of VISI Issue 104 to read the interview and photoshoot with Mpho and Thabisa. 

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Haitian-Canadian photographer Émilie Régnier, whose work we spotted at this year’s Investec Cape Town Art Fair, creates work that highlights multiple backgrounds and experiences, echoing the story of her own nomadic life.

Born in Montreal, and currently living in Senegal, Émilie chats with VISI about how she got into photography and whom she considers her biggest inspiration.

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INTERVIEWED BY Michaela Stehr

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Award-winning Swiss photographer and artist Sebastian Magnani is in the process of creating a series of images that deal with the way in which nature interacts with the world.

A former designer at an advertising agency, Sebastian became a full-time photographer in 2011.

His latest series, Reflections, which is still a work in progress, sees the Zurich-based photographer taking a round mirror and placing it in different locations, using it to reflect the natural surroundings.

For Sebastian, it’s important that his work is accessible, which is one of the reasons he’s made this series available on Society6, in the form of prints, tote bags, wall clocks, cushion covers, phone cases, towels, coasters, cards, cutting boards, blankets, laptop sleeves and trays.

To see more of Sebastian’s work, visit sebastianmagnani.com or follow him on Instagram.

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