In Nigeria, faith is shared, seen, and often expressed through clothing. This project explores how clothing and symbolic objects reflect religious identity and belief in Nigeria’s diverse faith communities. Through portraits, it investigates how fashion becomes both a personal expression and a communal language of faith shaping identity, creating belonging, and reinforcing shared convictions. It highlights the tension between fashion and faith, and examines how dress communicates conviction, reverence, and connection to the divine.

Visule Kabunda engages the garden as a dynamic site of emotional reflection, mutual care, and decolonial practice in post-apartheid South Africa. Grounded in the gardening practices of Black communities living in South Africa, this work examines how gardening offers important insights into how communities might ethically relate to land, memory, and one another.

The ruins give way to renewal, to the promise of progress, to the shimmering face of a country in motion. I tell myself not to judge, only to witness. Yet questions echo within me, doubts gather in the silence. I should rejoice at this vision of growth, I should feel pride—but something falters, a dissonant note, a bitter taste I cannot ignore.

This project documents Bubu music and its communities in northern Sierra Leone, capturing the people and everyday moments that keep the tradition alive. Rooted in Abdul Hamid Kanu's Temne heritage, it engages with music as a living practice connecting generations through sound, memory, and belonging.

By one estimate, South Africa leads in femicide rates, five times higher than the global average. These sombre images are focused on sites where women were either killed or dumped after being killed. Accompanied by ruminative captions by the photographer, Sites of Mourning serves as a monument to the women's lives.

Amarachi Nnoli blends elements of studio photography to examine Igbo identity in Nigeria. Visiting Adazi-Ani, her paternal hometown in southeastern Nigeria, she uses portraiture to explore not only the image of a person, but as a vessel of culture, memory, and representation.

The typical photograph in this series shows a person in the middle of an activity. Those activities, as Thero Makepe explains, are often re-enactments of his family’s past. We can assume correctly that these pictured individuals are members of his family. They perform a version of themselves, at his bidding, for the camera.

Fibi Afloe’s photographs were taken in a compound house where her family and other families lived for 70 years. Hers is the third generation of occupants in the same locale. Her experience is not as common in this century as it was in the previous one, when it was wholly possible to live all your life in the house you were born.