Bruin Feskens is a self-taught photographer working out of Cape Town. His mother, a photographer herself, started him on commercial sets at fifteen, and the family’s move from the Netherlands to South Africa opened up the landscapes — beaches, greenlands, deserts — that would later anchor his frames.

The series Nine began with a cover shoot for a Nigerian musician built around a hat and a yellow ribbon. From there he leaned into silhouette: black and white, one accent color, light treated as a tool that “demands a rejuvenating presence.” A lighting course, he says, taught him more than years behind the camera.

He is twenty-seven, still figuring it out by failing forward, and planning to push the work toward Kintsugi — broken pieces fixed with gold, beauty earned through repair.