Between Roots and Growth – Interview with Felicia Cheison
Feli is a photo artist with a bicultural background. She resembles a Kenyan orchid slowly putting down roots in German soil. Yet she never settles for a single identity, culture, or perspective. Instead, she keeps letting her roots grow further, searching between migration, experimentation, and personal growth for new directions. She draws inspiration continuously from her surroundings, weaving together different cultural, biographical, and emotional experiences with her artistic practice. Like a plant endlessly searching for water, she moves through different worlds in search of a place where she can truly grow.
As an artist with an East African background: how do you see the development of contemporary art in East Africa? What are the biggest challenges?
I was socialized as Kenyan-German, and I see my artistic habitus as shaped by Afro-diasporic artists, without an explicit focus on East Africa. In my own bubble, I generally observe Afrocentric developments and a stronger Black gaze.
What role does your family play in your artistic work — more as a resource, a limitation, or an inspiration?
I think my family always plays a role in my work, even in pieces that aren’t focused on them. I’d say it’s impossible to leave my socialization — and with it, my family — out of the picture. My parents are first-generation academics and work in the education sector. They’ve shaped the way I approach subjects. At the same time, I remain critical of the ideal of “family.”
How do your photographs come about? Do you work with people you’ve built a relationship of trust with, or do they happen more by chance? And how do you navigate the ethical questions of photography?
I mostly work intuitively and out of pure curiosity. Conceptually and technically, I stay flexible and grow with my ideas. My work needs time — so when I work with other people as subjects, I build a relationship of trust first. The same is true for my self-portraits; I believe intimacy can’t be rushed. Ethical questions around photography are central for me — of course, the history of photography is riddled with problematic dynamics. I think my perspective matters, because photography has long been dominated by Western, cis-male storytellers. Photographers often carry an inner conflict around authenticity and consent. In that sense, I probably miss out on “good” photos, because I build the moment rather than capture it.
If you could devote yourself to only one subject for the next ten years — what would it be?
Tough question. Right now I enjoy digging through archives, and I could see myself working with found photography. Some of my work is text-based, and for that I read about all kinds of subjects. I like working with remnants. The idea of working on one subject for ten years makes me sad — I need variety now and then. If anything, I could imagine working with one medium for ten years.
CREDITS
Author: Zihao Wei
Published: 3 July 2026