Raising awareness through art: Aïda Muluneh's WaterAid project

In 2018, WaterAid and the H&M Foundation commissioned Ethiopian photographer and artist Aïda Muluneh to create a body of work on the topic of water scarcity and the impact it has on women in Africa. Aïda is also a photojournalist, but for this project the Canon Ambassador designed fictional scenes in an attempt to engage new audiences.

"I think WaterAid was interested because I'm an exhibiting artist, able to take this work to different places," she says. "I didn't want to do it in a photojournalist style because I figured the general population has become numb to those kinds of images."

Featuring theatrical staging, body paint and billowing bright blue and red dresses, the images are groundbreaking in the way they communicate this environmental issue while avoiding the clichés we often see in the way Africa is represented by aid organisations and the mainstream media.

What is the significance of the colours, costumes and props you've used?

"Viewers always notice the colour in my work, but there are many layers within it: the cultural references that Ethiopians recognise instantly might spark foreigners' imaginations in other ways. I started working with primary colours because I love their intensity, but I've since realised they are the colours of the Ethiopian Orthodox churches I grew up around – so that's a subconscious influence.

"The yellow jerry can, which features throughout, is a symbol of water transportation across Africa. You can be driving in the middle of nowhere and you will see women – never men – carrying yellow jerry cans back and forth. Body painting is also an integral part of my artwork. I'm fascinated by the way it appears in cultures around the world that have no historical connections. In terms of costume, I'm inspired by the clothing styles you see in archival Ethiopian portraits from the '30s and '40s: perfect afros and flowing capes – the subjects look incredibly regal."

What challenges did the location pose?

"I wanted to shoot in Ethiopia because we have amazing locations. I decided to go to the Afar region, where I'd shot a music video for Malian musician Fatoumata Diawara. My biggest concern was how my gear would cope: it's very hot, 45-48°C, so we had to be set up by 4.30am. The location is also quite remote, so we had to be well organised. The extreme sun and hot desert wind can be challenging, but visually it's a photographer's dream."

What are your key lens choice considerations on a shoot like this?

"I used a Canon EF 70-200mm f/2.8L IS II USM lens because of the quality of the glass and the results you get. Most of my work has no shadow, and I like to flatten the image as much as possible, and this lens makes everything appear crisp and clean. I normally shoot with available light; it wasn't until a few years ago that I finally got strobes, which is a testament to the quality of the lens. Also, as a photographer who prints a great deal, I appreciate the precision of colour that the lens captures. I want those very specific reds or blues I see to be replicated as accurately as possible when I'm exhibiting large-scale images."

How much of your creative process is planned and how much is spontaneous?

"I go into production like a filmmaker, with characters, costumes and a storyboard. But the magic of creativity cannot be calculated scientifically – it's like a spiritual manifestation. Sometimes I sketch out all the shots, go through the whole exercise and it doesn't work, so we have to change things on the spot. You can't plan the model's gaze; I'm searching for a special intensity in the way she looks at me. Everyone on set gets excited when we have that shot."

What do you hope viewers will take from this series, and from your work more broadly?

"I'm at a stage in my career where I want my work to have a bigger impact. I've realised art can be a form of advocacy. I find it interesting that people react differently to my work based on their own experiences. In Ethiopia, sometimes a barber or tour operator will lift one of my images from the internet to use in their shop window. We contact them and say that isn't ethical, but it's fascinating to me that they found beauty in my work and decided to use my image rather than a celebrity portrait.

"I'm happy my work is being seen by the wider public. I think art should communicate with everyone, regardless of class or geographical location. I'm not on a mission to save the world, I'm just here to make my contribution for my country and my continent. I've seen how one-sided journalistic depictions of Africa can be, without any regard for the complexities of history or what life is actually like here. I'm offering another perspective – and we need as many perspectives as possible."