Thabiso Nyoni: Zimbabwean conceptual and live music photographer exploring identity, faith, and youth culture | 54Ruum Spotlight

Thabiso Nyoni is a 21-year-old Zimbabwean photographer whose work uses conceptual portraiture to explore identity, media, faith, and the quiet tensions of contemporary youth culture. His images sit between realism and abstraction, often growing out of personal observation, symbolism, and visual metaphor to question what we see, consume, and overlook.

He is drawn to quiet moments and unresolved tension, and approaches photography less as documentation and more as a reflective practice — an attempt to slow time, sit with uncertainty, and ask questions rather than offer conclusions.

Outside of his portrait work, his love for music culture has led him to document concerts and live performance, where he is drawn to the emotional undercurrents of sound, crowd, and atmosphere. Whether in controlled, symbolic portraits or the chaos of live music, his images consistently search for moments of stillness, connection, and human presence beneath the noise.

How would you describe yourself in a few sentences?

I’m naturally observant and often notice moments people overlook, whether in quiet, crafted scenes or in the chaos of everyday life.

A fun fact is that I’m influenced by music when I shoot or edit; entire concepts and visual moods often start with a song rather than an image.

How did you first get into photography?

My dad has always been a “photo guy,” and in my final year of high school my mum bought him a Canon 1200D. That curiosity quickly became mine. I started taking the camera on walks to a nearby nature reserve; photographing birds, monkeys, and anything that caught my attention. Those slow, observational walks were my introduction to seeing photographically.

What type(s) of photography do you specialise in, and why did you choose this niche?

I started off as a wildlife photographer, and after some encouragement from friends, I decided to explore other niches.

Currently, I focus on conceptual portraiture and concert photography. Portraiture attracted me as a way to connect with people, in that I wanted my work to convey a message rather than just look visually appealing.

However, my style has become more restrained and intentional. I’ve learned to value simplicity, space, and subtlety rather than rely on excess or spectacle.

On the other hand, concert photography allows me to capture emotion and energy in a more instinctive, real-time way while also satisfying my deep fascination with the music world.

Can you share the underlying themes or ideas that drive your photography?

I love capturing moments of tension — between noise and stillness, presence and distraction, belief and doubt. On a practical level, these ideas often translate into a consistent visual language.

I am constantly experimenting with deep, cool shadows contrasted against warmer highlights to create emotional separation and depth, allowing colour to function as part of the narrative rather than just an aesthetic choice.

What's the one achievement or moment in your photography career that you're most proud of?

One of my proudest moments was exhibiting a photo series titled, “The Work That Holds Us”. The project was selected for the Unpublished Africa exhibition and explored representation through the lives of people whose labour is essential to everyday Zimbabwean life, yet often goes unseen. This whole experience was deeply personal and affirmed my desire to create work that carries meaning beyond aesthetics.

What's the biggest challenge you've faced as a photographer, and how did you overcome it?

The pressure to chase trends or external validation instead of trusting my own voice has been a challenge, and I’m still learning to overcome it. A mentor of mine, Lennoxthephotographer, gave me a piece of advice that continues to shape my process: “slow down.” The reminder that I have to “slow down” has helped me work more intentionally and trust clarity over speed.

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

I’d love to collaborate with Michael Aboya, whose symbolic and intimate approach to portraiture is one I’m working towards. On the music side, photographing Hozier appeals to me; his atmospheric, mythic, and faith-infused music aligns with the visual themes that I have come to love, and I’d be excited to translate that world into images.

What are your thoughts on the 54Ruum platform?

I see 54Ruum as a much-needed space for intentional curation and meaningful storytelling within African creative culture. Platforms like this help shift the focus from visibility alone to context, voice, and depth, which is important for artists who are trying to build long-term creative identities within their countries and beyond.

How's the photography and art space in your country: how has it evolved in recent years?

The photography and art space in Zimbabwe has grown significantly in confidence and diversity. There’s now a stronger sense of experimentation and self-definition, especially among younger creatives who are pushing beyond traditional boundaries. Access is still a challenge, but the drive to create and tell our own stories is stronger now than ever.

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

Just start. I delayed my portraiture journey for a long time because I was afraid I wasn’t good enough. Wildlife felt safer to me because there were no people to critique my work.

Looking back, waiting didn’t protect me — it only slowed my growth. Start now. Refine later.