From Hobbyist to Award-Winning Photographer: Simphiwe Moyo

Simphiwe Moyo is a Zimbabwean self-taught photographer with a legal background. His work reflects his passion for social justice and commitment to using photography as a tool for storytelling and positive change.  Simphiwe’s journey is a testament to the power of self-learning, perseverance, and community engagement as what began as a hobby landed a solo exhibition at the National Gallery of Zimbabwe in Bulawayo which led to him receiving a Zimbabwean National Arts Merit Award.

As alumni of Unpublished Africa’s flagship program Creative Business Studio, Simphiwe is now a mentor for the program’s third  cohort program sharing his story while giving insight into his journey to a National Arts Merit Award for photography.

UA: How did you learn photography, and how has your legal background influenced your approach to documentary photography?

SMM: I learnt photography primarily through YouTube tutorials and practising on my mobile phone. I’ve found that the legal sphere exposed me to realities many people are shielded from and this encouraged me to start sharing stories. Current events and questions people tend to have can be found by looking at our history and as a history nerd I decided to use photography to start documenting too. Using photography to tell past and present stories provides an opportunity to inform and shape narratives.

Look at the impact photography has had on history, and record keeping. Photography is more than just an image of something captured at a specific point in time and place; it is an art which encompasses history, science, politics.

Photography should be used as an activism tool for social awareness. Let's tell real stories that aren’t censored or have a socio-political agenda. We need to share more stories about those that are marginalized, and whose voices aren't loud enough to be heard. As a photographer I feel I have a responsibility to bring those stories to light.

UA: Can you describe your journey as a photographer, from your early days to your solo exhibition at the National Gallery of Zimbabwe?

My photography started as a hobby and it’s something I did throughout university but didn’t take seriously to the point of considering exhibiting my work. This is until my friends asked me what I would do with my photography and fast forward to 2022, I attended the Kudita Sisters exhibition at Pikicha gallery and realised that there really is an appetite for art and exhibitions. I then exhibited my work with Unpublished Africa later that year.

It all made it feel doable. I sent a message to the National Gallery on social media and pitched an idea surrounding a body of work I had. This was of course accompanied by a brief introduction. It took a few days to get a response but I eventually heard back from them with an email address and contact person and that’s how we started working on the exhibition Pamoyo-Sihlengeni.

I will also say that I wouldn’t be able to tell this story without Ma’am Doris from the National Gallery of Zimbabwe in Bulawayo. The National Gallery definitely wasn't the first gallery I had approached. I had reached out to several of the few galleries we have in Zimbabwe. Some private curators either didn't respond or told me that's not what they were looking for.

UA:  How did the exhibition impact your career and your visibility as a photographer? 

SM:  Wow, I still can't believe that I have achieved so much so early on in my photography career. This a sense of respect associated with this kind of award and it’s made me feel more confident about my work and what I can achieve. 

When I submitted my work, I wasn’t sure about how to put it together even though the inspiration came easily as the series was from an area I grew up near and knew very well.  Ma’am Doris then organised the pieces in a way which could tell a coherent story and timeline which helped me put a story to it too. I now find it a lot easier to build on stories.

I won the Best Outstanding Exhibition which I think was quite an interesting award as it acknowledges the curators efforts in the exhibition based on the merit and quality of the work the Artist produced. It really was a collaborative effort! 

UA: How  has collaboration impacted the way you think about photography and your career? 

SM: My first exhibition was an Unpublished group exhibition titled Narratives Published and it was a global call. The exposure was great for my work. The second time I exhibited my work in a group exhibition  was for City:Life Resilience which I collaborated with Unpublished Africa (and Samora Central) after I had participated in the flagship program Creative Business Studio.

I genuinely believe in a chance. Never underestimate what the power of ‘chance’ can be on human beings. By chance I mean someone giving you a chance. That’s what collaboration in a way does as the benefits are endless. Also, I would like  my art to reach a point where I can have at least 10% of the proceeds go toward a culture fund and benefit the careers of other artists too.

UA: What are your future goals and aspirations as a photographer? Are there any specific projects or themes you'd like to explore?

SM: I would like to go on a photography expedition. This would combine my love for overlanding and photography and allow me to not only explore multiple countries bet get lost in the process of creating and capturing moments.

And as I  am not scared to break barriers; I want my images to be memorable and be associated with key points in history and civilian everyday life. I would like people to be aware of the issues and challenges affecting them through what I capture.

Another goal of mine is to have a gallery, Pamoyo Gallery. I want it to be the gallery that gives new artists a chance and can even be a place considered to be where a few established artists would have exhibited their work during the early stages of their careers. 

PAMOYO series about an area called Sihlengeni in Matabeleland South, Zimbabwe. Formerly termed “reserves” by the British Colonial government, Black indigenous people were restricted to areas such as these, characterized by dry conditions, minimal arable land and lower water levels making it hard for day to day living. Areas such as Sihlengeni were labour sending areas, a source of labour for the nearby white minority owned farms. Today Sihlengeni is home to those who cultivated the land in the past and they continue to occupy it till this day practicing subsistence farming. The area is a stark reminder of Colonial Spatial planning with little to show on the transition from that era.

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