Kyle Weeks. Photographer. African. Storyteller.

More often than we like to admit, destiny knocks on our doors when we least expect it, and when it does the signs are elusive.

A decade ago, on a typical day after school, a 17-year-old St Paul’s College pupil was out skateboarding with his friends, with one oddity presenting itself in the form of a woman holding a camera in her hand. This encounter is now remembered as the spark that ignited an auspicious beginning to an illustrious photography career.

Presently, Kyle Weeks is based in Amsterdam, the Netherlands, and is the recipient of many international photography accolades, including the prestigious Magnum Photography Award in 2016, credited in the fine art category.

His work has been published in Vogue, the New York Times, the Wall Street Journal Magazine, Vogue Italia and iD.

Weeks’ past clients include Raf Simons, Fred Perry, Calvin Klein, Gucci, Zara, Adidas, Converse and H&M. The British Journal of Photography dubbed Kyle Weeks a talent to watch.

The Weekender recently caught up with Weeks and learned about his beginnings, artistic process, inspirations and take on personal growth.

“One piece of advice I will never forget is that you learn photography in two ways, looking at pictures and taking pictures. Initially, we learn by imitating photographer styles and the aesthetics that these photographs encapsulate,” says Weeks.

While in the Western Cape studying at the Stellenbosch Academy of Design and Photography, Weeks’ initial inspirations were Guy Tillim, Pieter Hugo and Zanele Muholi, before he was able to hone his own authentic style.

“I remember having a conversation with Pieter Hugo and he told me something quite profound. He said, after many years of practising photography you can see more clearly but it is still a daunting task to clearly see in your mind’s eye.”

Weeks identifies as an African despite his European ancestry and laments how the image of Africans has been mirrored from a perspective reflecting Afro-pessimism. This epiphany inspired his big break photo series entitled, ‘Ovahimba Youth Self-Portraits’, a three-year-long project which began in 2012.

“When I had previously photographed Himba people, I had inadvertently adopted a kind of fleeting, unfiltered touristic eye, characterised by the search for visual difference. I recognised that images of this culture were incredibly prolific, but that none that I had seen were contributing in any way to the documentation of their contemporary cultural identity. The rift between the representation and realities of these people became profoundly apparent,” comments Weeks.

The project soon caught the attention of curators at the Johannesburg Arts Fair, which housed Weeks’ first solo exhibition.

“The line between fashion photography and documentary storytelling is increasingly blurred. My work has focused on this intersection. Fashion can hold a social and political connection,” he notes.

One thing that is apparent in his work is the use of film, which he prefers over digital because he appreciates the slow process.

“It is an intuitive process. You don’t get to see what you have produced instantly, which forces you to be patient in character.”

The biggest barrier for creative pursuits throughout the art world is the issue of money. Funding personal projects is no easy task, often leading artists to find work in often unfulfilling career paths.

“After completing my studies, a group of friends and I launched a collective, called Cape Collective Assist, in which we worked as large-scale commercial photography assistants. I made my money through fashion photography. I was fortunate enough to be in Cape Town and make connections that made it possible for me to get commercial work.”

Initially not big on fashion photography, his style and appreciation for fashion photography developed through his experiences.

“Everyone is hustling in their own way to raise the money for projects. Being exposed has taught me that even some of the best documentary photographers are working alternative jobs to raise cash.”

Weeks encourages aspiring photographers to look into their immediate environment for material.

“No one will be able to tell an authentic story like someone who witnesses and lives the story.”

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