Sinenkosi Msomi, conceptual photographer based in Eswatini

My name is Sinenkosi Msomi. I'm a 29-year-old self-taught photographer based in Eswatini, exploring the tensions and relationships between cultural and traditional history and youth culture in Eswatini.

I use photography as an archival medium to recollect and recontextualize his childhood memories of familial dynamics and interactions with my peers and youth in my community into dream-like environments, exposing the fluidity of memory, perception, and tradition.

My position as a young, Black African creative plays a major role in my process and is honored at various points of my practice, from the subjects I choose, to the settings and aesthetics of the photographs.

Photography is a medium of expression that makes the unseen elements of my lived experience seen, giving me the opportunity to craft and capture complex narratives in one image.

In an effort to continue his development as an artist, I have worked to be active in Africa’s creative economy and have been involved in numerous projects and exhibitions over the years.

How would you describe yourself in a few sentences?

I am a creative, self-determined, and self-motivated individual.

I have a do not give up easily spirit which has enabled me to win in so many instances where I thought I couldn’t.

I believe that my work defines everything that I have been through and how I see the world.

How did you first get into photography?

My best friend, 'Clifford Dludlu,' enabled me to venture into photography. He would let me take charge of brainstormed concepts. The more I created, the more the work improved.

I believe sometimes not being able to speak about things that bother me enabled me to use that as inspiration to document those issues or experiences through capturing photographs.

What type(s) of photography do you specialise in, and why did you choose this niche? How has your style evolved over time?

Conceptual photography, and most of my work is staged.

I didn’t set out to choose a niche in the traditional sense. My work evolved out of personal necessity. Photography became a way to process emotions and experiences I struggled to put into words. Growing up in Eswatini, I witnessed how mental health, especially among young men, was stigmatized or ignored. I wanted to challenge that silence.

My niche, which is conceptual photography focused on mental health, memory, and cultural identity, grew naturally from what I knew and felt deeply about. These themes aren’t just topics; they’re realities I’ve lived. Through visual storytelling, I aim to connect with others who feel unseen or unheard, and offer them something both vulnerable and validating.

I always feel art should mean something. For me, it’s a healing process and a call for empathy.

My approach is now more introspective and conceptual. This has helped ensure that I continue to use visual storytelling to address personal and societal themes, fostering connection and dialogue through my art.

Can you share the underlying themes or ideas that drive your photography? How do you use your images to connect with others?

Mental Health Awareness, Cultural Reflection and Memory, Social Justice and Equity, and lastly, Self-Expression and Healing.

I often capture vulnerable moments such as grief, introspection, isolation, and resilience that resonate universally.

My work is inspired by memories of my African extended family setting. That’s why I tend to integrate such environments and clothing in my work, as they play an important role in affirming identity and inviting empathy from the audiences.

Photography acts as my tool to discuss mental health, especially the struggles young African men face in seeking help and the effects of stigma they also face, and what that leads to, such as suicide and isolation. By visualizing these internal battles, I validate those feelings and help others feel less isolated.

What’s the one achievement or moment in your photography career that you’re most proud of? Whether it’s a personal milestone, a published project, an exhibition, or a meaningful client experience.

Winning first prize from the University of British Columbia, Center of Migration Studies contest (2025) continued to validate the purpose of my work. It has enabled me to reflect on more pieces that I’m yet to create.

It also reminds me of when I won the Afrochampions x African Union Social Justice Prize in 2020 for works on themes such as equality, equity, not belonging, and migration.

What’s the biggest challenge you’ve faced as a photographer, and how did you overcome it? What did you learn from that experience?

I always think that one of the biggest challenges that I have faced as a photographer is trying to use your work to tell important stories in spaces that don’t appreciate the messages behind those certain artworks.

In life, we always need to go where we are appreciated. I decided to reach out to art spaces that embraced my work.

If you could collaborate with anyone, who would it be and why?

It has to be Justin Dingwall. I love how he pushes the boundaries of creativity. His work is always refreshing.

What are your thoughts on the 54Ruum platform?

I believe that 54Ruum is doing an amazing job at showcasing the beautiful works created by African photographers.

If you could give one piece of advice to someone just starting their photography journey, what would it be?