Natalija Gormalova is a visual artist working in...
Natalija Gormalova is a visual artist working in photography, film and moving image.
In her work she is exploring social and environmental issues, global migration, gender rights, cultures and identities. “For me photography and film is a journey into the soul of the world and I see importance and value in visual storytelling and unveiling the common truths.”
At the age of 17 she moved from her hometown in Latvia to London where she studied Photography at at the London College of Communication and later received scholarship to study Masters in Photography at the Royal College of Art.
She traveled to Ghana in 2015 and since then has been creating work across the continent. Living in different parts of the world has immersed her in different cultures and helped to shape her character and creative vision. In Accra she is part of a creative collective called Afrodistrict that aims at breaking stereotypes and changing perceptions of Africa through visual storytelling.
Her photographic works have been published in The New York Times, The National Geographic, The Washington Post, The Guardian, The British Journal of Photography etc.
Natalija’s work has been exhibited at the 4th Thessaloniki Biennale of Contemporary Art in Greece, Folkestone Fringe Triennial in the UK, “Altitude+1000” Photography Festival in Switzerland and Nuku Photo Festival in Ghana. In 2017 Natalija was one of the winners of Ghana Portrait Prize.
Recently she has written, directed and produced her debut short film called “Spirits We Dance” which received international recognition and multiple film awards including Winner of the Best Experimental Film from Cannes Independent Film Festival and the Best Director from Montreal Independent Short Film Festival.
Natalija lives between  Accra, Ghana and London, UK and works as a freelance photographer and filmmaker for various media outlets and international NGO’s.

NATALIJA GORMALOVA

Natalija Gormalova is a photographer and filmmaker based in Accra, Ghana.
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