Gillian Wearing is a contemporary British artist whose conceptually driven photographs and videos investigate power dynamics and voyeurism in everyday life. Focused more on capturing the self-awareness of her subjects than on issues of aesthetics, Wearing employs prosthetic masks, voice dubbing, altered photographs, in her portraits of herself, individuals, and groups. This is especially notable in her series of work Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say (1992-1993), in which the artist confronted strangers and asked them write what they were thinking, then photographed them holding the sign. “It’s always important as an artist to find a unique language, and that’s why the Signs excited me,” she said of her series. “They felt new. But I didn’t realize they were going to be so influential, on everything from advertising to people doing signs for their Facebook page.” Born in 1963 in Birmingham, United Kingdom, she moved to London in 1983, studying first at the Chelsea School of Art then Goldsmiths College where she became a part of the Young British Artists generation alongside Damien Hirst. In 1997, the artist was the winner of the prestigious Turner Prize for her 1996 piece “60 Minutes Silence“. She currently lives and works in London, UK. Today, Wearing’s works are held in the collections of The Museum of Modern Art in New York, the Tate Gallery in London, the Hammer Museum in Los Angeles, and the Hirshhorn Museum and Sculpture Garden in Washington D.C., among others. http://www.artnet.com/artists/gillian-wearing/
Aaron Siskind (1903 – 1991) was an American photographer. Siskind’s work focuses on the details of things, presented as flat surfaces to create a new image independent of the original subject. He was closely involved with, if not a part of, the abstract expressionist movement.
Jonathan Miller writing about the book in the Independent
the capacity to resolve fine detail is confined to a surprisingly small area of the retina, the fovea, around which visual acuity falls off so steeply that it’s impossible to take in the details of a whole scene at a single glance. Try fixing your eyes on the last word of this sentence and see how difficult it is to read the surrounding text. The result of this restricted acuity is that our perception of the visual world has to be assembled in discrete installments. Although we are not explicitly aware of doing so we are constantly flicking our gaze from one part of the visual field to the next, and by bringing the specialised centre of the retina to bear on one sector of the scene after another we collect an anthology of sporadic snapshots from which we build up an apparently detailed picture of the world around us.
John Thomson (14 June 1837 – 29 September 1921) was a pioneering Scottish photographer, geographer and traveller. He was an accomplished photographer in many areas: landscapes, portraiture, street-photography, architectural photography. He was one of the first photographers to travel to the Far East, documenting the people, landscapes and artifacts of eastern cultures for his Victorian audience. He was however more concerned with the socio-economic situation of the people whose land he visited than landscape as a subject in itself (Jeffrey, 1981, p. 64).
On his return home, his pioneering work documenting the social conditions of the street is regarded as a classic instance of social documentary which laid the foundations for photojournalism. He went on to become a portrait photographer of High Society in Mayfair, gaining the Royal Warrant in 1881. His publishing activities mark him out as an innovator in combining photography with the printed word.
The son of William Thomson, a tobacco spinner and retail trader, and his wife Isabella, Thomson was born the eighth of nine children in Edinburgh. After his schooling in the early 1850s, he was apprenticed to a local optical and scientific instrument manufacturer, thought to be James Mackay Bryson. During this time, Thomson learned the principles of photography and completed his apprenticeship around 1858. In 1861 he became a member of the Royal Scottish Society of Arts.
South East Asia 1862-1872: Singapore, Malaya, Sumatra, Siam, Cambodia and China
Singapore
In April 1862, Thomson left Edinburgh for Singapore to join his older brother William, a watchmaker and photographer, beginning a ten-year period spent travelling around the Far East. Initially, he established a joint business with William to manufacture marine chronometers and optical and nautical instruments. He also established a photographic studio in Singapore, taking portraits of European merchants, and he developed an interest in local peoples and places. He travelled extensively throughout the mainland territories of Malaya and the island of Sumatra, exploring the villages and photographing the native peoples and their activities.
Siam and Cambodia
After visiting Ceylon and India from October to November 1864 to document the destruction caused by a recent cyclone, Thomson sold his Singapore studio and moved to Siam. After arrival in Bangkok in September 1865, Thomson undertook a series of photographs of the King of Siam and other senior members of the royal court and government.
Prea Sat Ling Poun, Angkor Wat, 1865.
Inspired by Henri Mouhot’s account of the rediscovery of the ancient cities of Angkor in the Cambodian jungle, Thomson embarked on what would become the first of his major photographic expeditions. He set off in January 1866 with his translator H. G. Kennedy, a British Consular official in Bangkok, who saved Thomson’s life when he contracted jungle fever en route. The pair spent two weeks at Angkor, where Thomson extensively documented the vast site, producing some of the earliest photographs of what is today a UNESCO World Heritage Site.
Thomson then moved on to Phnom Penh and took photographs of the King of Cambodia and other members of the Cambodian Royal Family, before travelling on to Saigon. From there he stayed in Bangkok briefly, before returning to Britain in May or June in 1866.
While back home, Thomson lectured extensively to the British Association and published his photographs of Siam and Cambodia. He became a member of the Royal Ethnological Society of London and was elected a Fellow of the Royal Geographical Society in 1866, and published his first book, The Antiquities of Cambodia, in early 1867.
There have however been accusations of plagiarism. In 2001 Phiphat Phongraphiphon, a Thai independent researcher in historical photography, published claims that Thomson plagiarised works by Thai court photographer Khun Sunthornsathitsalak (Christian name: Francis Chit) and published them as his own. Evidence to Phiphat’s claims include an analysis of a photograph in which the temple Wat Rajapradit, which was built before Thomson arrived in Bangkok, is missing.
Travels in China 1868-1872
Island Pagoda, about 1871, from the album, Foochow and the River Min
Images from Travels in Chinahttps://www.youtube.com/embed/RXPC31yH1pQ?autoplay=0&theme=dark&loop=0&fs=1&showinfo=1&modestbranding=0&iv_load_policy=3&color=red&autohide=1&disablekb=0&enablejsapi=1&version=3 https://www.youtube.com/embed/FV-13nn1aAE?autoplay=0&theme=dark&loop=0&fs=1&showinfo=1&modestbranding=0&iv_load_policy=3&color=red&autohide=1&disablekb=0&enablejsapi=1&version=3 https://www.youtube.com/embed/v=zGgrQ6QKaGo?autoplay=0&theme=dark&loop=0&fs=1&showinfo=1&modestbranding=0&iv_load_policy=3&color=red&autohide=1&disablekb=0&enablejsapi=1&version=3
After a year in Britain, Thomson again felt the desire to return to the Far East. He returned to Singapore in July 1867, before moving to Saigon for three months and finally settling in Hong Kong in 1868. He established a studio in the Commercial Bank building, and spent the next four years photographing the people of China and recording the diversity of Chinese culture.
Thomson travelled extensively throughout China, from the southern trading ports of Hong Kong and Canton to the cities of Peking and Shanghai, to the Great Wall in the north, and deep into central China. From 1870 to 1871 he visited the Fukien region, travelling up the Min River by boat with the American Protestant missionary Reverend Justus Doolittle, and then visited Amoy and Swatow.
He went on to visit the island of Formosa with the missionary Dr. James Laidlaw Maxwell, landing first in Takao in early April 1871. The pair visited the capital, Taiwanfu, before travelling on to the aboriginal villages on the west plains of the island. After leaving Formosa, Thomson spent the next three months travelling 3,000 miles up the Yangtze River, reaching Hupeh and Szechuan.
Thomson’s travels in China were often perilous, as he visited remote, almost unpopulated regions far inland. Most of the people he encountered had never seen a Westerner or camera before. His expeditions were also especially challenging because he had to transport his bulky wooden camera, many large, fragile glass plates, and potentially explosive chemicals. He photographed in a wide variety of conditions and often had to improvise because chemicals were difficult to acquire. His subject matter varied enormously: from humble beggars and street people to Mandarins, Princes and senior government officials; from remote monasteries to Imperial Palaces; from simple rural villages to magnificent landscapes.
Street Life in London
Images from Street Life in LondonThomson returned to England in 1872, settling in Brixton, London and, apart from a final photographic journey to Cyprus in 1878, Thomson never left again. Over the coming years he proceeded to lecture and publish, presenting the results of his travels in the Far East. His publications started initially in monthly magazines and were followed by a series of large, lavishly illustrated photographic books. He wrote extensively on photography, contributing many articles to photographic journals such as the British Journal of Photography. He also translated and edited Gaston Tissandier’s 1876 History and Handbook of Photography, which became a standard reference work.
In London, Thomson renewed his acquaintance with Adolphe Smith, a radical journalist whom he had met at the Royal Geographical Society in 1866. Together they collaborated in producing the monthly magazine, Street Life in London, from 1876 to 1877. The project documented in photographs and text the lives of the street people of London, establishing social documentary photography as an early type of photojournalism. The series of photographs was later published in book form in 1878.
The Crawlers, London, 1876-1877
He was elected a member of the Photographic Society, later the Royal Photographic Society, on 11 November 1879. With his reputation as an important photographer well established, Thomson opened a portrait studio in Buckingham Palace Road in 1879, later moving it to Mayfair. In 1881 he was appointed photographer to the British Royal Family by Queen Victoria, and his later work concentrated on studio portraiture of the rich and famous of High Society, giving him a comfortable living. From January 1886 he began instructing explorers at the Royal Geographical Society in the use of photography to document their travels.
After retiring from his commercial studio in 1910, Thomson spent most of his time back in Edinburgh, although he continued to write papers for the Royal Geographical Society on the uses of photography. He died of a heart attack in 1921 at the age of 84. In recognition of his work, one of the peaks of Mount Kenya was named “Point Thomson”.
A large collection of his glass negatives was donated to the Wellcome Library. Some of Thomson’s work may be seen at the Royal Geographical Society’s headquarters in London.https://www.youtube.com/embed/1iHxiVW3wjA?autoplay=0&theme=dark&loop=0&fs=1&showinfo=1&modestbranding=0&iv_load_policy=3&color=red&autohide=1&disablekb=0&enablejsapi=1&version=3
Selected publications
China Through the Lens of John Thomson 1868 -1872, River Books 2010.
The antiquities of Cambodia, 1867
Views on the North River, 1870.
Foochow and the River Min, 1873.
Illustrations of China and its people, 1873-1874 [1]
Street life in London, 1878
Through Cyprus with a camera in the autumn of 1878, 1879
Long, in particular, has sought to distance his practice from the epic scale of works by Smithson and Michael Heizer. Long branded these kinds of works negatively as ‘capitalist art’, because of the way they absorbed the land and because of the financial resources necessary for their production (Andrews, 1999, p. 215).
Long espoused a less interventionist approach to making land art, as well as simpler, less obtrusive sculptures that have a minimal impact upon the landscape. In addition to the sculptures they produced and documented with photography, Fulton and Long have focused on the meditative process of walking, and conceive of the act of walking as an art form in itself. The outcomes of this activity may be a combination of photographs and notes of objects and events observed, and perhaps also a sculptural aspect using materials from the walk. River Avon Mud Circle (2011) is one such example of this approach.
A talk by Clarrie Wallis, curator of Richard Long’s show Heaven and Earth, Tate Britain 2009:
http://www.tate.org.uk/context-comment/audio/richard-long-curators-talk
Sean O’Hagan’s preview of Heaven and Earth:
http://www.guardian.co.uk/artanddesign/2009/may/10/art-richard-long
Martin Parr (born 1952) trained in photography at Manchester Polytechnic.
Described in the past as Margaret Thatcher’s favourite photographer, Parr caused a stir when he tried to join
Magnum Photos. The issue was one of integrity. Photographers within Magnum’s ranks guarded their territory jealously and felt that the work that Parr offered was voyeuristic, titillating and
meaningless. Parr was eventually accepted at Magnum in 1994 and went on to become one of the leading authorities on photography in the UK.
Parr has an ability to turn the snapshot into art. There is however something of the satirical about this work – many of the images raise a smile. Parr worked mainly in colour and his approach was to over-light with fill-in flash, causing a frozen moment in time to be even more false yet far more real. His work is quirky and opportunistic. He makes no bones about the latter; invited to an event, he takes the opportunity to produce images that will lead to further projects. His approach is direct. He doesn’t ask permission and if someone sees that he is photographing them he will continue on the basis that it’s his job to photograph them, record their reaction, etc. The characteristic Parr style is still there 30 years on.
Listen to Martin Parr talking about hisimages and practice:
Parr has produced a wide range of work.
Last Resort: Photographs of New Brighton (1986). One of his first
major colour pieces.This style was to become synonymous with Parr and his ability to create from the ordinary. The little girl could be the focus of the image but the boy is also interesting. The car and the lighthouse are both essential to the composition.
A recent project in the suburbs of Paris depicts ordinary
life within a diverse, mainly immigrant, community.
St Moritz series shows the rich at play in a way that only people who work there would normally get to see.
Luxury – a recent Martin Parr project where he looks at the rich and their pastimes.
The Parrworld (2008) show exhibited some of Parr’s extensive collection of kitsch souvenirs and other disparate paraphernalia: a watches with pictures of Bin Laden and Saddam Hussein, bubblegum pop pin-up wallpaper. He compares photography to collecting: the world is out there for the having.
Parr has edited three volumes of his collections of postcards:
Boring Postcards (1999)
Boring Postcards USA (2000)
Langweilige Postkarten (2001).
The subjects within Boring Postcards are what we judge to be mundane or prosaic, such as motorways, service stations, tower blocks, school and other modernist municipal buildings – structures that we take for granted and might even consider to be ‘eyesores’. They weren’t necessarily photographed for their beauty in any traditional sense, but because of their novelty value as photographic subjects. [Many of the images in the UK edition are attributed to the Frith photographic company.] They are in fact often quite unusual and remarkably intriguing.
Exercise: Getting the Parr ‘feel’
For this exercise, photograph people engaged in a fun or social activity outdoors. For example, you could go to a seaside resort and photograph people having a good time. Or photograph people at an outdoor party or function. Try to capture the Martin Parr ‘feel’.
Use your camera flash or a flash gun to balance the daylight. You need to take light readings from the ambient light and then set the flash gun to produce a small amount of flash – not enough to turn the scene into night – running the camera at a slower speed than the flash would normally synch at.
Getting the flash /ambient light balance right is the key to the technical side of the whole look.
This is the camera’s reaction under normal circumstances. A slower shutter speed than the recommended flash setting may help a lot.
This will work very differently for a range of cameras and you may need individual support and advice for this relative to your personal camera equipment.
Produce a set of eight colour images. Ensure that the colour is bright and reflects the nature of Martin Parr’s work. How does this lighting effect change the nature of your images? Make
some notes in your learning log.
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Martin Parr is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.
Martin Parr (born 1952) trained in photography at Manchester Polytechnic. Described in the past as Margaret Thatcher’s favourite photographer, Parr caused a stir when he tried to join Magnum Photos because many Magnum photographers felt that Parr’s work was voyeuristic, titillating and meaningless. Parr was eventually accepted at Magnum in 1994 and went on to become one of the leading authorities on photography in the UK.
He has a characteristic photography style and approach. Parr works mainly in colour, using fill-in flash to over-light the scene, causing a frozen moment in time to be even more false yet far more ‘real’. His approach is direct and opportunistic. He doesn’t ask permission and if someone sees that he is photographing them he will continue on the basis that it’s his job to photograph them, record their reaction, etc. His work is quirky and opportunistic. He makes no bones about the latter; invited to an event, he takes the opportunity to produce images that will lead to further projects.
!! Insert sketchlog pages of analysis of his images and annotated flatpans of his photobooks.
Martin Parr is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.
Martin Parr (born 1952) trained in photography at Manchester Polytechnic. Described in the past as Margaret Thatcher’s favourite photographer, Parr caused a stir when he tried to join Magnum Photos because many Magnum photographers felt that Parr’s work was voyeuristic, titillating and meaningless. Parr was eventually accepted at Magnum in 1994 and went on to become one of the leading authorities on photography in the UK.
He has a characteristic photography style and approach. Parr works mainly in colour, using fill-in flash to over-light the scene, causing a frozen moment in time to be even more false yet far more ‘real’. His approach is direct and opportunistic. He doesn’t ask permission and if someone sees that he is photographing them he will continue on the basis that it’s his job to photograph them, record their reaction, etc. His work is quirky and opportunistic. He makes no bones about the latter; invited to an event, he takes the opportunity to produce images that will lead to further projects.
Use your camera flash or a flash gun to balance the daylight. You need to take light readings from the ambient light and then set the flash gun to produce a small amount of flash – not enough to turn the scene into night – running the camera at a slower speed than the flash would normally synch at.
Getting the flash /ambient light balance right is the key to the technical side of the whole look.
This is the camera’s reaction under normal circumstances. A slower shutter speed than the recommended flash setting may help a lot.
This will work very differently for a range of cameras and you may need individual support and advice for this relative to your personal camera equipment.
Ensure that the colour is bright and reflects the nature of Martin Parr’s work. How does this lighting effect change the nature of your images?
Photobooks
!! To significantly update with notes to the videos and flatpan analysis in my sketchlog of photobooks I own: The Last Resport and Think of England
Parr has had around 40 solo photobooks published including:
The Last Resort (1983–1985)
The Cost of Living (1987–1989)
Small World (1987–1994)
Common Sense (1995–1999).
Think of England (1999)
The Human Condition
Other projects:
Rural communities (1975–1982)A recent project in the suburbs of Paris depicts ordinary life within a diverse, mainly immigrant, community.
St Moritz series shows the rich at play in a way that only people who work there would normally get to see.
Luxury – a recent Martin Parr project where he looks at the rich and their pastimes.
Martin Parr as collector and curator
Parr has edited three volumes of his collections of postcards:
Boring Postcards (1999)
Boring Postcards USA (2000)
Langweilige Postkarten (2001).
The subjects within Boring Postcards are what we judge to be mundane or prosaic, such as motorways, service stations, tower blocks, school and other modernist municipal buildings – structures that we take for granted and might even consider to be ‘eyesores’. They weren’t necessarily photographed for their beauty in any traditional sense, but because of their novelty value as photographic subjects. [Many of the images in the UK edition are attributed to the Frith photographic company.] They are in fact often quite unusual and remarkably intriguing.
The Parrworld (2008) show exhibited some of Parr’s extensive collection of kitsch souvenirs and other disparate paraphernalia: a watches with pictures of Bin Laden and Saddam Hussein, bubblegum pop pin-up wallpaper. He compares photography to collecting: the world is out there for the having.
!! Photobook collections and his discussions of these.
Nigeria Wordpress 2012 theme website but the gallery does not work.
Artist statement:
“My photography is the process of openly expressing what gives me the energy to remain sane and to visualize the art of life as I experience it.
My observation is that thought is image and vice versa. Thought is shaped by the mystery of now. When I create an image it’s not with a detached eye but with the reasoning that I am part observer, explorer, creator and messenger, with an artist’s inspiration from nature’s expression of being.
I desire to engage the past, traveling the places that create memory and thus to see a way into the future. I explore the zones between tradition, improvisation and modernity, documenting a New Africa. In this landscape of wonder, with its unlikely adeptness, cultures merge, positive traditions remain in contemporary living, faces of the Diaspora return home and spiritual stories are told not to be forgotten.
Having our thoughts come in the form of images, then what better method of communication than to use photography to express my imagination and allow for transformation. Going beyond the beyond. It‚s my way of exposing an exciting world where the least is more and beauty is undeniable. Finding and giving strength in simple ideas.
Spirit culture landscape earth music dance poetry space structure people infinity light. Cosmic tension and release. Healing.”
CV
Francis Nii Obodai Provencal
Photographer/Artist
Born in Accra, Ghana and has lived in England, Nigeria and Ghana, Francis Nii Obodai Provencal is at ease with the vast and diverse world of his continent. His work mainly explores the urban and rural, not with a detached eye, but with an artist’s careful watching, with a strong interest in history and a love of the stories that abound in his world.
Nii Obodai’s photographs are a conduit into a vibrant space. In his travels he discovers and explores the meaning of Farafina*. Here we merge into the zone between tradition, improvisation and modernity. We begin to feel the spirit of Farafina, with its adeptness where religions come together, traditions remain in contemporary living, faces of the Diaspora returned home and spiritual stories are told, from within a landscape of beauty. Nii Obodai is unafraid to challenge the common catch cries of what is accepted to be Africa – war, corruption, helplessness. We share his positive awareness of the daily lives of millions of normal people across the continent. In the images of Nii Obodai, the land of the Farafina is living poetry.
Nii Obodai is presently based in Ghana where he works and lives. He enjoys facilitating inspirational workshops on photography and continues to travel exploring and recording the vibrant essence of life. Nii Obodai has exhibited in Accra, Paris, Bristol, Den Haag, Amsterdam, Bamako.
Current Works:
Who Knows Tomorrow, a collaborative book project with Algerian-French photographer, Bruno Boudjelal. This work is a poetic journey that explores the legacy of independence.
Liberation Of Soul, a work in progress of interviews and portraits of people in Africa exploring their vision for the future. Liberation Of Soul is created with audio and photography.
Farafina Creates, a practical experience of design and construction with natural building resources. This project explores the technologies and possibilities of rural potential. Farafina Creates also explores the relationship between architecture and landscape. It’s in collaboration with Selassi Tettevie (artist/designer) and the Akplease Family of the Volta Region, Ghana. The Akplease’s are mud earth builders and forest-keepers.
Books:
Nii Kwei’s Day
Zetaheal
Recent Exhibitions:
Who Knows Tomorrow, April 2009, Alliance Francaise, Accra
Who Knows Tomorrow, June 2009, Centre Atlantique de la Photographie, Brest
Residencies:
The Cité Internationale des Arts, 2005, Paris
Clark Bursary, Watershed, 2007, Bristol
*Farafina – Bambara Language (mali) meaning “Land Of The Black Skin
Website much too flashy. One very large image that takes ages to load, even on my fast connection, never mind slow ones in Africa. Rolling slideshows etc down right hand side lead to very slow loading large images. Seems to be trying to use the most jazzy tools for photo galleries. But very confusing and doesn’t really work.
Entry screen is Maasai ?girl with nipple half exposed. Is this a tongue-in cheek parody of African exoticism or just cheesy??
Confusing icons like the power button to get to the main menu.
I – Mutua Matheka – am an artist born and bred in Machakos and fine-tuned by Nairobi. I draw, sketch, mold stuff, destroy stuff & occasionally create stuff… I have been drawing and sketching since my mother placed crayons in my hands at just 3 years of age. The art has since then morphed from Drawing, Illustration, Graphic art, Architectural Visualization to Photography, my latest obsession. When I’m not meeting a deadline or sharpening crayons, I love to get my adrenaline pounding by riding motorbikes, mountain climbing, and (if I got a chance) para-troop and ski.
I am a graduate Architect from Jomo Kenyatta University of Agriculture & Technology (J.K.U.A.T), now fully applying my architectural eye to capture Architecture, cityscapes & landscapes. I love photography and I hope you can see that love by looking through my images.
I credit my creativity to The Creator who is the number one creative in my books, and my mom for the 3yr old crayon awakening. Also, I’m happily married to a beautiful woman who also doubles as a personal model.
Together with David ‘Blackman’ Muthami and the UN Habitat, we are using my photography of urban spaces in Africa to showcase a beautiful Nairobi and eventually Africa. Through the ‘I’m a City Changer‘ campaign, we seek to change mindsets of people in cities especially in Africa about their cities. Take a look at the ‘I’m A City Changer‘ page on my website to see the images that people all over the world are sharing to show why they love their cities. To this effect we held the first photography showcase for ‘I’m a City Chager’ in Nairobi that attracted lots of media attention.
I’ve been featured in Nokia’s ‘Teddy Bears & Talking drums’, a documentary (view here), ADA (African Digital Art), Afri-Love (Afri-love.com), BBC News Africa’s In Pictures, Nation Newspaper feature, Kiss 100′s Breakfast show with Caroline Mutoko, Zuqka magazine (Nation newspaper). I have won the pioneer BAKE AWARD for best Photography Blog in Kenya, as well as being nominated for the International CSS DESIGN Award based in the United States, putting both Kenya and Africa on the Map in photography. My photos have been used by BBC MEDIA, KUVAA IN NETHERLANDS, African Digital Art, NTV’s PM LIVE, among other avenues showcasing excellence.
I’ve also had the privilege of working with: Image 360 designs, Iseme, Kamau & Maema Advocates, Symbion Architects, Reata Apartments, Radio Jambo, Kiota Guest house, Exotic Golf Safaris, UP Magazine, Kobo Safaris, and artists like: Blackman, Daddy Owen, Bupe, Anto Neosoul, Neema, Ruth Wamuyu, Kevo Juice, Five.Oh.One, Dj MO, Monique, Ma3 band, Sara Mitaru, among many other amazing people.
You can connect with me through any of the avenues listed below:
