Oleg Steve Ntwari: Burundian visual artist exploring intimacy, identity, and Afrocentric narratives | 54Ruum Spotlight

Oleg Steve NTWARI was born in Bujumbura, Burundi. He is a multi-talented visual artist, working as a digital illustrator, graphic designer, and phone photographer.

He has developed a distinctive creative practice that blends traditional drawing techniques with digital tools like Procreate, while embracing mobile photography as a core medium for capturing intimate, Afrocentric perspectives.

From an early age, creativity shaped his life. He honed his skills in pencil and pen sketching before expanding into digital illustration, portraiture, photography, and entrepreneurial ventures, including branded merchandise. His work often explores themes of identity, intimacy, Black experiences, and social commentary.

How would you describe yourself in a few sentences?

I am a dynamic, multi-talented visual artist, digital illustrator, graphic designer, phone photographer, and entrepreneur from East Africa with a bold, Afrocentric vision.

I have always loved creative art that speaks through digital tools like Procreate. I produce striking digital paintings, portrait-inspired works, and intimate photographic captures that often explore Black identity, intimacy, culture, and selfhood.

Despite creating from Burundi, my pieces have independently travelled farther than I have. My art has appeared in two US exhibitions, from New York City to Washington, highlighting the true power of art to cross borders.

How did you get started in photography?

My journey into photography began unexpectedly in 2018. A small crew of three or four close friends turned photography into a fun game and friendly competition. We challenged each other to capture the best and most colourful shots with our phones, starting casually by sharing them on WhatsApp status. 

Before long, the rivalry heated up, and we migrated the challenge to Twitter (now X), posting our entries publicly and hyping each other. That light-hearted competition was the initial spark.

Even though the game was interesting, a quiet voice inside me urged me to keep improving and push my limits. A big part of that motivation came from a few incredible photographers whose work truly ignited my passion: Holyziner, the renowned Burundian photographer; Ntwari Holyziner; Ossegre Casinare; Chris Schwagga; and Christian Mbanza, the Burundi-born, Rwanda-based visual storyteller.

I still follow them closely to this day because their skill, storytelling, and impact are exactly what I aspire to achieve. Seeing their work kept the fire burning and turned a casual hobby into a serious pursuit.

The defining moment that solidified everything came later, when I held a mixed-media exhibition of pencil art and photography in collaboration with the French Institute of Bujumbura (Institut Français du Burundi) and the Alliance Française of Gitega, supported by the European Union.

Standing there and seeing my pencil drawings and photographs displayed side by side was amazing. Looking at the audience response and feeling the energy in the room, I told myself, clearly: this is it; I have to keep going with both painting and photography. It was my personal commitment to never stop creating across these mediums.

From the 2018 photography challenge on WhatsApp and Twitter to exhibiting my work, photography has grown into a core part of how I express identity, culture, beauty, and resilience through an Afrocentric lens.

What type of photography do you specialise in, and why this speciality?

Portrait photography is where I truly specialise and feel most at home as a photographer. For me, it is all about the details. They have always guided how I take pictures. I love framing people half within the frame, leaving space that invites the viewer to step in and connect. 

You can see through the image, through the subject’s eyes, subtle poses, and quiet emotions or stories they carry. That intimate window into someone’s world draws me in every time, capturing not just a face, but a feeling, an identity, a moment of vulnerability or strength, often through an Afrocentric lens that celebrates Black beauty, resilience, and culture.

My style has evolved beautifully over time, and it began with a very special friend who became my first real muse, Alaintia. When I was just starting to explore portrait work seriously, she trusted me completely and let me photograph her whenever and wherever we crossed paths.

She genuinely loved my emerging style and constantly encouraged me, giving me the confidence to experiment freely. Those sessions were raw and spontaneous. She was patient, supportive, and instrumental in helping me develop my eye for portraits.

Over the years, as I kept shooting and learning, I could clearly see that I had stronger composition, deeper emotional capture, and more intentional use of light and shadow. Sadly, I lost some of those original high-quality files over time, but many of those early portraits still live across my different social media platforms, Instagram, X, Pinterest, and beyond, serving as reminders of where it all began.

From those personal muse sessions, opportunities to photograph couples, friends, and others who trusted me with their moments opened up. Each shoot built on the last, refining my approach and pushing me deeper into storytelling through the lens.

Today, whether it is an intimate solo portrait or a group image that captures connection, portraiture remains my passion because it allows me to amplify voices, preserve heritage, and create images that linger long after the moment passes.

What are the main themes or ideas that inspire your photography?

My photography revolves around intimacy, Black beauty, identity, culture, and the everyday beauty of African life.

I use my images to connect with others by creating intimate windows that people can see through. It is about making people feel seen, whether the subject is a friend, a stranger, a couple, or someone from my community.

My photographs often serve as bridges, sparking conversations about identity, inspiring others to embrace their creativity, and sharing the richness of Burundian and African perspectives with a global audience.

What accomplishment or moment in your photography career are you most proud of?

The mixed-media exhibition I participated in in 2020. Titled “L’art visuel, canal d’expression de la biodiversité en danger” (Visual Art as a Channel to Express Endangered Biodiversity), it was a powerful collaboration between the poet and artist Audry Carmel and me. The show was supported by the Institut Français du Burundi, the Alliance Française de Gitega, and the European Union.

Seeing my pencil drawings and photographs displayed together on the walls, blending intimate portraits, cultural captures, and themes of identity with messages about biodiversity and environmental awareness, was incredibly meaningful.

It was my first major exhibition experience, and it validated so much of my journey, from playful 2018 phone photography challenges with friends to stepping into a professional, internationally supported space. I was also really proud to see Google Pixel validate some of my photographs through comments on my X and Instagram posts.

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

Once people learned that many of my images were captured on my phone rather than with expensive professional gear like a Canon, they lost interest. 

Early on, friends, followers, and the local creative community gave me a lot of encouragement for my portraits and creative shots. However, when I told them about using a smartphone, people’s attitude shifted quickly, and people dismissed the work as not serious or as less legitimate photography.

The same bias affected my videography efforts, even though I now use both dedicated gear and my phone depending on the situation. It was disheartening and made me question whether I would ever be respected without high-end equipment, especially in Burundi, where professional cameras are not always accessible or affordable.

From that experience, I learned that a picture is still a picture, regardless of the tool. What can be achieved with a Canon can also be done beautifully on a phone through skill, vision, composition, lighting, timing, and editing. The emotion, story, cultural depth, and intimacy in my images come from the eye and heart behind the lens, not the price of the hardware.

I have seen phone work that rivals, and sometimes surpasses, professional setups, and my own work has earned exhibitions. The key takeaway for me is that creativity has no limits; just create.

This realisation built my resilience, shifted my focus to the art itself rather than perceptions, and freed me to move forward confidently, whether shooting on a phone for raw, spontaneous moments or using gear for specific needs. It turned a painful bias into one of my greatest strengths as a creator.

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

If I could collaborate with anyone, my top picks would be Forbes or Time Magazine. I genuinely love their portrait photography. The depth, emotion, and storytelling in their portraits completely draw me in.

Even when I explore other kinds of photography, my heart always returns to portraits. They speak without words, relying purely on feeling and connection. Working with them would be an incredible opportunity to share my Afrocentric portraits on a global stage.

I would also love to collaborate with Chris Schwagga. I deeply admire his black-and-white photography, from the strong compositions to the mood and the way light and shadow tell powerful stories. His style inspires me every day, and collaborating with him would push me to grow further within that timeless aesthetic.

What do you think of the 54Ruum platform?

It feels really good to see a platform that is truly committed to shifting the narrative and amplifying Black photographers, offering visibility, community, and a meaningful space to share stories, perspectives, and Afrocentric visions without filters or limits.

What excites me even more is the submission process itself and the opportunity to answer such thoughtful questions before sending in my work. Those questions were interesting and went deep into my journey, inspirations, challenges, and reasons for creating the way I do.

It shows how much 54Ruum understands photographers and their work on a personal level. The platform encourages reflection, helps us articulate our vision clearly, and pushes us to tap into our full potential as creators.

After watching the content, from spotlights to stories and features of so many talented African and Black photographers, and especially after responding to those questions, 54Ruum truly feels like home.

It feels like a welcoming and supportive space where our art is valued, celebrated, and connected to something bigger. I am grateful for platforms like this that help us build legacy and community from the continent outward.

How's the photography and art space in your country?

The photography and art space in Burundi is still quite small and underdeveloped compared to many other countries. Art is not widely valued as it should be, and most people do not see it as a serious full-time career or something to pursue professionally.

Many of us create purely for the love of it, and that is true for many other artists and me, I know. There is no strong support system, limited funding, and little widespread recognition for visual artists such as photographers or painters, which makes opportunities scarce.

It is difficult to make a living from the visual arts, and the field is often overshadowed by music or other creative industries.

In recent years, there have been some positive developments, such as occasional exhibitions at venues like the French Institute of Bujumbura or the Alliance Française, EU-supported projects like PASACC-Burundi for capacity building and international exposure.

Small galleries such as TwoFiveSeven Arts are the first permanent gallery in Bujumbura, and initiatives led by young photographers or collectives that address social issues through art and photography. However, the scene has not evolved dramatically. There are still very few dedicated art spaces, galleries, or professional infrastructure in the country.

Because of this, social media has become our main gallery. Platforms like Instagram, X, and others are where we share our work, build audiences, connect with fellow creators, and attract international attention.

This has been a game-changer for many of us working independently, including myself. The space is growing slowly, driven by passionate young artists pushing boundaries, but real opportunities remain limited. We continue to create despite the challenges, guided by passion and the belief that our stories deserve to be told.

What advice would you give to someone starting in photography?

Just start, create, and believe in yourself. Do not wait for the perfect camera, ideal lighting, or more knowledge. Pick up your phone or whatever tool you have and start shooting.

Take photos every day, experiment, make mistakes, and keep going. I am still learning myself and growing every time I press the shutter, but I am where I am today because I started in 2018 with fun phone challenges among friends and truly believed I could do it. That belief carried me through doubt, gear-related bias, and limited opportunities in Burundi.

It is also important to follow creators who inspire you. Study their compositions, lighting, stories, and moods. This will push you to level up, try new things, and stay motivated, even on difficult days.

Photography is not about perfection from the start. It is about consistency, curiosity, and self-belief. The more you shoot and learn from what moves you, the more your unique voice will emerge. You have got this, just start today.