Unraveling Identities Through Photography: Cezary Rucki on His Journey as the First AHF Graduate Fellow
As part of its mission to support artistic excellence and promote its positive impact on the communities, the Althafen Foundation has been fortunate to work with remarkable artists and creators worldwide. One such individual is Cezary Rucki, a talented photographer and visual artist from Poland, the first recipient of our Graduate Fellowship to attend Royal College of Arts, whose recent project with the Ghetto Classics program in Kenya exemplifies the Foundation’s commitment to empowering young voices and advancing social good through the arts.
Cezary’s work has brought to light the unique identities and stories of young musicians from Nairobi’s slums, using photography as a means of both expression and transformation.
In this interview, Cezary reflects on his experiences working with the Ghetto Classics participants, the challenges and rewards of photographing in the slums of Nairobi, and how this project changed his perspective as an artist. “Unraveling Identities of Ghetto Classics” exposition is on display from June 1st to August 23rd, 2024 at the AHF Summer Arts Lounge.
Cezary, first of all, congratulations on your incredible project in Kenya. Can you tell us how you first got involved with the Ghetto Classics initiative?
Cezary Rucki: Thank you so much. It was quite a fascinating opportunity that the Althafen Foundation introduced me to. When I first heard about the project in Kenya, I was both excited and a bit cautious. It was my first time traveling to Kenya, and I wanted to ensure that the project didn’t fall into the stereotypical narrative of Africa that we often see. I felt a deep responsibility to handle the subject with care and authenticity.
The Ghetto Classics initiative focuses on young people from Nairobi’s slums who are learning music. What inspired you to focus your photography project on these participants?
The kids involved in the Ghetto Classics initiative come from very challenging environments—slums and ghettos—but what’s remarkable is how they use music as a way to transform their lives. Seeing the passion and dedication they had, I knew I wanted to tell their stories in a way that truly reflected their identities. This project became about them showing the world who they are, not just how others might see them. The idea was for the kids to become co-creators in the project, deciding how they wanted to be photographed, where, and in what style. It was crucial to give them that agency.
That’s such a powerful approach. How did you ensure the participants had control over how they were portrayed?
We spent a lot of time with the kids before any photos were taken. It was important to establish trust. We introduced them to the concept of the project, and rather than imposing any ideas, we let them guide the process. Some of them had very specific ideas right from the start—there was even one participant who wanted to be styled after “Peaky Blinders”! Others had more whimsical concepts, but the key was allowing them to express themselves fully. We brainstormed together, discussing locations, outfits, and themes, and I tried to offer support without taking over the narrative.
What was it like working in Korogocho, one of Nairobi’s largest slums? Did anything surprise you about the experience?
Korogocho was intense in every sense of the word. It’s one of the biggest slums in Nairobi, situated next to the Dandora dumpsite. The contrast between the slums and the city center, just a few kilometers away, was striking. The sensory overload—vivid colors, loud sounds, and the overall atmosphere—was overwhelming at first. But what surprised me most was how incredibly creative and resourceful the community is. The kids found beauty in the most unexpected places. I’ve never been so inspired by my surroundings as I was there.
How did the local community respond to your project?
The local residents were incredibly welcoming and helpful. They acted as our guides, showing us around Korogocho and offering insights into the community’s life. Thanks to them, we were able to see things from a much more authentic perspective. The community really embraced the project, and it was clear they were proud of the young people we were working with. It was eye-opening for me to hear their stories and witness how they lived day to day.
What were some of the biggest challenges you faced during the project?
Working with young people always presents challenges, especially when you’re in a place like Korogocho. At first, there was some distrust and discomfort—understandably so—but as the week went on, we built a connection. Another challenge was navigating my own role as a photographer. I didn’t want to impose too much of myself onto their stories. It was a balancing act between guiding the project and letting the kids lead. The slum environment itself also presented logistical challenges, but that was all part of the learning experience.
The project sounds like it was a deeply emotional experience for you as an artist. How did it affect your own creative process and perspective on photography?
It was probably one of the most formative projects I’ve ever been a part of. Before this, I had never experienced a project that required me to relinquish so much control. I had to let go of my own ego and allow the kids to shape the narrative. This project raised important questions for me about the role of a photographer. I came to realize that, in situations like this, the photographer’s role is not to impose a vision but to facilitate the telling of someone else’s story. It taught me humility, and that’s something I’ll carry with me in my work going forward.
What is one memory from the project that stands out to you?
CR: There were so many memorable moments. One that stands out was when we were taking photos in a bustling market square. We were surrounded by people going about their lives, and a group of curious children gathered around to watch. At one point, our local guide stopped a brightly painted bus, and we ended up taking photos with one of the participants standing on its hood. The energy and spontaneity of moments like that were unforgettable. It really showed the magic of the environment we were working in.
What do you hope people take away from this project when they see your photos?
CR: I hope that people see beyond the usual narratives of poverty or hardship when they look at these photos. Yes, these kids live in difficult conditions, but they are also incredibly talented, creative, and full of dreams for the future. My goal was to capture their individuality, their strength, and their potential. I want people to see them as more than just statistics or “children from the slums.” They are artists, musicians, and above all, unique individuals with rich and complex identities.
Thank you, Cezary, for sharing your experience with us. It’s clear that this project has left a lasting impact, not only on the participants but also on your own artistic journey. We look forward to seeing where your creative path takes you next.
Thank you. I’m deeply grateful to the Althafen Foundation and the Ghetto Classics participants for this opportunity. It’s been an unforgettable experience, and I’m honored to have been a part of it.
Cezary Rucki was born in 1994 in Szczecin, currently lives in Poland
For over 10 years, his main medium of work has been photography. He started as a portrait photographer which is still the core of his practice. He is a co-creator of covers for literary and music publications. He was also involved in artistic direction and directing music videos. His works have been published in many magazines and have also taken part in individual and group exhibitions.
In his works, he combines in-depth observation of reality with attempts to present what is difficult to articulate visually – such as the mental problems of an individual, which are the main theme of most of his works. Its aim is to try to answer questions about the medium as such – its limitations, possibilities of expanding and polemics with it in both practical and intellectual dimensions, using various techniques, such as post-production and physical transformations, gifs, montages or installations.