Amarachi Nnoli: Nigerian photographer documenting women’s lives, Igbo culture, and family archives through photography and mixed media

Amarachi Nnoli (b. 2000) is a Nigerian photographer and lens-based artist whose work focuses on the lives and experiences of women, particularly those within her own family. She engages with the archiving of Igbo cultural practices, self-portraiture as a way of exploring her queerness, and the quiet joys found in the everyday lives of ordinary people.

In early 2025, Nnoli began expanding her practice into mixed media. She now works with image transfers on canvas, combining photographs she has taken herself with archival images from family albums. Through layering, texture, and material interventions, she creates pieces that sit at the intersection of photography, memory, and painting.

Nnoli studied English and Literature at the University of Benin. She has shown work in group exhibitions in London, Chicago, Zaragoza (Spain), and at +234 Art Fair and NaHous in Lagos. She took part in the 2024 Dikan Photojournalism and Documentary Practice Programme in Accra and the African Digital Heritage residency in Kenya.

In 2025, she received a commission from African Women in Photography and The END Fund, the Art X Icon Masterclass Grant, a commission from Tender Photos, and worked with Doctors Without Borders. She is a member of Black Women Photographers, the African Photojournalist Database and African Women Photograph.

How did you get started in photography?

My journey started around 2019 or 2020 when I convinced myself I could become an influencer. I even received a PR package from Darling Hair. I used to dress up randomly and take self-portraits. I still do, but that time felt different.

After the COVID-19 lockdown, I returned to university and started photographing things around me, my friends and myself with my phone. In 2021, during my final year, my sister advised me to take photography more seriously than just a hobby.

I sent an email pitch to Document Women about photographing female artists in their studios and writing about their practice. It was accepted. I photographed my first artist, Osaru Obaseki, while still in school. That is where my practice really took off.

How would you describe yourself?

I’m an Igbo babe who loves her culture. My practice now revolves around this. I’m a very optimistic person, and maybe a bit too laid back. My mother sometimes complains that nothing moves me.

I used to read a lot as a child, and I’m trying hard to build that habit back as an adult. I love a good road trip. I’m open to trying new things, except sushi. Never have, never will. I support women’s rights and sometimes wrongs.

What are the main themes that inspire your photography?

My practice focuses primarily on women, especially within my family and Igbo societies at large, Igbo cultural practices, and self-portraiture, which I’m slowly getting back into.

What moment in your career are you most proud of?

My top two proudest moments are buying myself a camera and a MacBook at the same time with my first big-girl photography money from a project with Afro Urban Society, and winning a commission from African Women Photograph and The END Fund, as well as the Art X Icon Masterclass Grant last year.

What is the biggest challenge you've faced as a photographer?

Getting scammed in Accra when I tried to buy a camera. I had to learn the hard way that gear really does not matter more than your unique eye, skill and your story.

What type of photography do you specialise in?

I’ve always been a documentary photography girlie, long before I even knew that was what I was doing. I also started with portrait photography because I was unofficially mentored by my dear friend Rachel Seidu, who’s an amazing photographer.

What is your primary commercial niche?

Documentary and portrait photography. These are the areas I feel most at home in and where I continue to build most of my work.

What is your unique technical or visual approach?

I try to create work that feels or looks as close as possible to how the human eye sees. This comes from my background in documentary and from wanting my photographs to look like the family album pictures I loved looking through as a child. 

Which global brands, photographers, or industries do you feel your work aligns with most?

I’ve had the privilege of working with MSF (Doctors Without Borders). My photography aligns with the work they do. I also really love Ruth Ossai’s photography and Njideka Akunyili-Crosby’s work.

How's the photography and art space in Nigeria?

Artists and art professionals are doing back-breaking work of learning for themselves and growing with their peers. I’ve only been within this ecosystem a few years, and I’m still learning and navigating a lot as someone with no formal background in this.

There are very few institutions that offer actual teaching and mentoring rather than “go and do it yourself.” So I can’t really speak strongly on its evolution yet.

What do you think of the 54Ruum platform?

54Ruum is doing really great work putting together a platform and a directory of photographers on the continent. We can never have too many people talking about African image-makers and their work in visually mapping this very vast and diverse place.