Farhia Koje is carving out an unparalleled niche in the creative scene with her surrealist and editorial photography. Her work defies convention, capturing elements of juvenile experiences through a mature, introspective lens. Farhia’s process is as layered as her final images—her childhood memories, family anecdotes, and historical fragments are the roots of her narratives. Each project rolls out episodically, with releases that pull her audience deeper into her creative world.

Farhia’s method of rolling out her projects is just as intentional. Rather than unveiling everything at once, she releases her work in segments, each with its own title and description. “I want to give people something to look forward to each week,” she says. This episodic approach mirrors the rhythm of storytelling itself—slow, deliberate, and full of anticipation. Her work is an ode to the act of remembering, an exploration of the past through a present-day lens that bridges the gaps between what we know, what we feel, and what we once forgot.

Her visual language is deeply personal, rooted in self-discovery and a desire to connect with her audience. “Every project I put out is kind of an ode to little Farhia,” she says. “I’m learning more about myself along the way.” It’s this vulnerability paired with a sharp eye for detail and an unwavering commitment to storytelling that makes Farhia’s work both deeply introspective and universally resonant. Her photography isn’t just a series of images; it’s a dialogue, a journey she invites us to take alongside her, unraveling the threads of memory one frame at a time.

The House Next Door 2024

What drew you to this unique rollout style of your work?

Farhia: From the beginning, I struggled with collaboration and finding people who understood my visual language. So I decided to seek out collaborators I wanted to work with. That’s when I remembered this childhood nightmare I had, which birthed my first editorial project called The House Next Door. It was part of a project called Labour of Love that I started in January. Since I’m originally a graphic designer, photography became something I picked up along the way. So in January, I announced a graphic series, which included a lot of political art. It was my way of showing how bold and intentional I could be with my work. Then in April, I decided to add the photography segment, The House Next Door.

I’ve always seen people release everything at once, but I wanted to build suspense and keep people engaged. So I roll out projects episodically, like episodes with titles and descriptions, each released on a specific date. It keeps the audience invested in the story. It feels important to me to roll it out this way. Something so small but so essential to my work. I feel like it’s not my work if I don’t roll it out like this.

What particular ethos are you aiming to evoke through the themes you explore in your work?

Farhia: I think we’re so invested in other people’s stories that we forget our own. As a child, I couldn’t wait to grow up and leave it all behind. But as an adult, I look back and realize I didn’t fully appreciate those moments.

Now, when I work on projects, it’s an ode to little Farhia. I’m learning more about myself along the way. It’s a journey of self-discovery and I bring my audience along for the ride. Whether it’s fashion or a music video, I think people need to see beyond the surface. Try to understand the intention behind it. I want to show that storytelling has real power. I believe in telling old stories in ways that make them feel new, and I want people to understand that power.

The House Next Door 2024

Do you feel like your creative process challenges you as an artist?

Farhia: Absolutely. It’s deeply personal, and that makes it hard to explain or translate to others. There’s always that anticipation—will people understand it as I do? I know not everyone will, and I’ve come to accept that, but the translation is still a challenge.

I also feel like my work is not “digestible” for everyone. A brand owner once used that word, and it stuck with me. I realize now, that my work might take more effort to connect with, but that’s okay because it’s for those who are willing to engage with it deeply. The translation of my ideas is the hardest part for me.

Are there moments in your creative process that are essential?

Farhia: References are essential for me. It brings me to the idea of dialogism—the idea that art can’t exist in isolation. There’s no such thing as a fully original piece of work. Art has been around too long for that. Embracing that idea and learning from others helps me decide where I want my work to go. I love looking at others’ work for inspiration, whether it’s mood boards on Pinterest or archive pages on Instagram. It helps me take one idea and develop it into ten. References give me a direction while still allowing me to put my own spin on things.

Participation Awards 2024

Tell me about your most recent project, I’m Good Here.

Farhia: It started with an outdoor editorial I was shooting called Participation Awards, inspired by my childhood experiences in sports. I styled the models in my old PE uniforms, which was a challenge in itself.

Later, I met someone whose style—vintage Somali, ’70s and ’80s Motown—caught my eye. We became really close friends and I wanted to do something based on his style, so I decided to shoot a series that would tell his story. The series is called I’m Good Here, and it explores the idea of isolation and contentment—being okay with yourself without the need to mix with everyone else.

We shot it in a Victorian house in East London, which matched the vibe perfectly. I also decided to use a Super 8 camera for the teaser video, though I hadn’t used it before, it all came together beautifully.

I’m Good Here explores self-imposed isolation and finding contentment within yourself. We shot it in a house, which added depth to the story. Houses bring an idea to life for me—it’s where memories feel most vivid. This series is about embracing solitude and creating a sanctuary within yourself.

I’m Good Here 2024

The title I’m Good Here suggests contentment yet hints at isolation. Do you think true independence requires solitude?

Farhia: Definitely. The title was inspired by my model, Adel. He’s only a year younger than me, but he really shocked me with his chillness. He’s so calm and confident in who he is. He’s just so at peace with where he’s at in life. For me, there’s always this looming question: when is it going to be enough? When will I start working with my dream brands? When will I reach the next level? But Adel is just so content with where he’s at, and that inspired the title. The whole series is really based on him and who he is as a person. A lot of what I shoot is based on my memories and experiences, but this time, I flipped it. I asked him to share his perspective on life, and I observed him to understand it more deeply.”

Have there been any challenges with that change in the creative process of going off of someone else’s lived experience?

Farhia: Honestly, working with him was so easy. He styled himself, and I didn’t have any issues with that. On set, there were some challenges because I tend to give up quickly when things don’t go right the first time. I’m quick to scrap an idea, but Adel stopped me so many times and said, ‘No, let’s try again.’ It was hard for me to not be in control, but I learned so much. Letting go and giving him the space to offer his thoughts opened my eyes to how it can lead to something even better than I imagined.”

How do you want audiences to interpret the paradox of contentment with this project?

Farhia: I’ve always said this to people, especially on my TikTok where I share creative advice: you don’t have to be everywhere. You don’t have to be in every crowd, at every event, or always be seen with people. It’s okay to say no and do your own thing. Your people will find you.

It's a conversation that me and Adel had all the time. We’ve struggled our whole lives to find our people, and now that we finally have, We’re good here. We don’t need anything else.

Isolation isn’t always a choice. Sometimes isolation is forced upon you, whether it’s because life makes you step back or because you realize something isn’t good for you anymore. I always tell my friends, that you can willingly walk away from something, or life will eventually force you out. It’s your choice—do you want it the easy way or the hard way?

I’m Good Here 2024

What are you working on for the future?

Farhia: I want to keep doing what I’m doing now but on a bigger scale. I want to work with more people, especially directors I look up to. I’m also hoping to branch into directing films. It’s something I’ve never really said out loud before, but I want to start working on screenplays and producing my work. InshaAllah, I hope it will benefit me monetarily as well—because let’s face it, we all want to be comfortable with our work. But more than anything, I wouldn’t change anything about what I’m doing or the people around me. I just want it all to be on a bigger scale, with bigger ideas and more opportunities to collaborate with people who can help me bring them to life.”

In your way, describe your creative energy.

Farhia: I’d say audacious and captivating. The reaction I often get from people is, ‘What the hell? How are you even doing that?’ They’re intrigued by how I piece together ideas and bring them to life. I think ‘audacious’ really captures that boldness, and ‘captivating’ reflects how people are drawn to it.”