Beyond Borders: Arez Ghaderi’s Human Lens on Migration and Resilience
Art — 05.06.25
Words by Beatrice Sacco
TEETH had the honor of speaking with Arez Ghaderi, a Kurdish-Iranian photojournalist who places humanity at the heart of his work. Traveling the world, he documents the stories of migrants—people, like himself and his family, who leave their homes in search of a better future. His photography is rooted in deep empathy, offering powerful, intimate insights into lives often overlooked or misunderstood. While migration is often framed through a political lens—complex and divisive—Arez reveals a deeper, more human reality. Through his discerning eye and compassionate spirit, we witness the love, solidarity, and resilience that define a journey many are forced to make.
Beatrice Sacco: Can you tell us a bit about your project, Hello Italy? You decided to join SOS Humanity, an organization that helps refugees crossing the Mediterranean safely on their trip to Italy, and documented what happened on those ships. What made you join SOS Humanity and decide to document the arrival of migrants in Europe? For how long did you follow their lives?
Arez Ghaderi: As someone who is also a migrant, the word “migration” is not just a passing experience for me—it’s something one carries for a lifetime. Even under the best circumstances, migration is accompanied by hardship and pain. I personally did not migrate by land routes, but I have often encountered people who, despite having children and families, chose extremely dangerous paths to reach safety. Understanding this decision, even with my own migration experience, has sometimes been difficult for me because although my journey was somewhat easier, it was still filled with challenges.
Before getting to know SOS Humanity, I didn’t know much about the organization, but the issues of migration and refuge had always occupied my mind, as my own life was deeply connected to them. I have now been living in Germany for seven years, yet I still feel the effects of my migration every day. It was important for me to make the hardships and dangers that migrants face visible. Many of them risk everything simply for the hope of a better life—and how much better it would be if the Western world made reaching that better life easier and more humane.
You also arrived in Germany as a refugee years ago and spent some time in refugee camps. What made you decide to become a photojournalist and to cover the lives of many other migrant people?
I had already started photography years before migrating to Germany. My passion for it began during my time at an art school in Sanandaj, where I first encountered the world of photography. However, living in refugee camps in Germany gave me a fresh perspective on storytelling and human experiences.
During that period, I often talked to other refugees and asked them about their journeys. Their answers deeply moved me—despite differences in nationality, religion, or culture, there were profound commonalities in their experiences. These conversations created vivid images of their difficult and challenging paths in my mind.
Life in the camps was tough, but it was also an opportunity to closely engage with people from different cultures and perspectives. This experience made me appreciate even more the efforts people make for the chance at a better life. Those who have crossed such difficult paths value ordinary life even more deeply.
For me, telling these stories is meaningful. I would like to continue working on refugee issues—perhaps in the future, focusing on the life of one particular family or individual to portray a hidden side of their reality.
One of your most famous pictures is about a girl belonging to a nomadic community in the Khorasan province, in southern Iran. Can you tell us a bit more about the project that you did on this nomadic group and what led you to shoot this stunning picture? Can you also describe to us the reason behind the powerful title you chose for it, Colorless Colorful?
I had traveled to the outskirts of Torbat-e Heydarieh to photograph saffron farms. Along the way, I noticed a group of people who immediately caught my attention. Right then, I decided to change the focus of my trip and instead document their lives. They belonged to a traditional and marginalized community in the region, living a unique lifestyle. I chose to spend more time with them, learning about their daily lives and culture.
When I enter a new community, I try to talk to people, understand their way of life, and make friends if possible. Building human connections, especially with children, is always easier—children trust much more quickly, and this trust shines through in the photographs.
One day, while photographing inside their tents, I saw some children searching through garbage for toys. I joined them, and while we searched together, they noticed my camera and happily posed for pictures. One of the children proudly showed me her outfit, and I captured that moment. I chose the title “Colorless Colorful” because, on the surface, their lives appeared simple and colorless, but in reality, they were full of hope, emotion, and life. This contrast inspired the title.
You did two really compelling projects about two other children, More than a Mother and Melody. They tell about the daily lives of two children: Semko, who is affected by microcephaly, and Melody, who has faced some developmental issues growing up. How did you meet them, and how did you decide to follow their stories?
The “More Than a Mother” project was one of the most emotionally challenging works for me because the subjects were my sister and my nephew. Normally, photographing family is easier because of the closeness, but the emotional weight of this project made it more difficult. My nephew, Samko, who suffered from microcephaly, sadly passed away at the age of three and a half. I tried to capture the deep bond between mother and child and the pain of loss through my photographs. Fortunately, today my sister has two healthy and lovely daughters, but that period of her life remains unforgettable.
The “Melody” project has a different story. Melody was the daughter of a friend of my sister’s. I met her at my sister’s home, and gradually, a friendship formed between us. Melody was a very kind and affectionate girl. I tried to reflect not just the challenges she faced, but also her warmth, kindness, and hopefulness through my photos.
Can you tell us a bit more about the series 2+2= 1? It is a project about the Kurdish population, and I think it’s a stunning message of unity and resilience, which feels particularly on point also for the contemporary times and challenges the world is facing. How did it begin?
As a Kurd, I have always felt a deep sense of responsibility toward my people. Kurdish life is often intertwined with complex political and social realities. That’s why I started the “2+2=1” project—a project that is still ongoing. This project is my attempt to document the lives and struggles of Kurds in different regions. I haven’t yet achieved the final vision I have for it, but I plan to continue traveling and photographing Kurdish communities across different countries to complete it.
For me, this work is not just an artistic project—it’s part of my personal identity and social commitment.
As a person who lived and witnessed the reality of refugee camps, what do you think international governments should do to improve the situation and help migrants arrive safely? What do you think about the current situation of migrant people in Europe and in the countries they travel through?
In my opinion, it’s borders that separate people. Strict immigration laws have forced many to choose dangerous and illegal paths. If developed countries made it easier to obtain visas and travel legally, many wouldn’t need to seek asylum. Leaving one’s homeland, family, and roots is never an easy decision. War, oppression, discrimination, and poverty drive people to flee.
The world needs more humane policies—policies that respect human dignity and create safe, legal, and accessible ways for people to travel and rebuild their lives.
What are you working on right now? Do you have any future exhibitions or new projects coming up?
At the moment, I’m working on a family project. Migration had a profound impact on our family, scattering us across different countries. About two years ago, my mother passed away. One of her greatest wishes was to have all her children reunited in one place—a wish that was never fulfilled during her lifetime.
Last year, for the first time, all family members managed to gather together in Istanbul. During this time, I started photographing, and now I’m developing this series. It’s a project that seeks to capture emotional roots, loss, and the bonds that hold a family together despite distance.
Follow Arez Ghaderi via Instagram and stay up-to-date with his work through his website.
You can purchase his book, Colorless Colorful, here.