From the series ‘Sarotava’, by Mahefa Dimbiniaina Randrianarivelo
‘Sarotava’ means ‘mask’ in Malagasy, the language of Madagascar where Randrianarivelo was born in 1991 and still lives. Each portrait subject in the series is headless, a comment, says Randrianarivelo, on the lot of the Malagasy people; life there is like ‘the middle ages, yet you have access to the technology of the contemporary world’.
From the series ‘Kakenya’s Dream’, by Lee-Ann Olwage
Born in 1986, the South African photographer worked with girls from Kakenya’s Dream, a Kenyan educational nonprofit that empowers girls in order to end harmful traditional practices such as female genital mutilation.
From the series ‘White Gold’, by Amina Kadous
The Cairo-based photographer explores her family’s long history in Egypt’s famous textiles trade: ‘I see myself in cotton’s journey [and] the legacies of my grandparents and my own country’s eroding history.’
From the series ‘Double identity’, by Pamela Tulizo
Born in 1993 in the Democratic Republic of the Congo, Tulizo uses actors, mannequins and dancers to reveal the strength and beauty of the women of Goma and Kivu province, rejecting the wider world’s representation of them as victims.
From the series ‘Lip Service’, by Remofiloe Nomandla Mayisela
Born in 1994, the South African lens-based artist uses her experience as a ‘makoti’ (bride) to question why women’s bodies are ‘for consumption’ while they themselves are assigned to the kitchen.