NEXT GENERATION OF CONTEMPORARY AFRICAN ARTISTS AT CIRCLE ART

‘                  EMERGING’ EAST AFRICAN ARTISTS AT CIRCLE ART

            Seance by Sujay Shah at Circle Art Gallery

By Margaretta wa Gacheru (posted August 23, 2021)

In curating ‘Various Small Fires’ for Circle Art Gallery, Don Handah has defined an historic moment for a gallery that already has a tradition of bringing unknown (to the Kenyan public) artists from around the region to feature on its pearly white walls and floors.

In that same vein, Don has brought mainly Kenyan, but also Eritrean and Tanzanian artists to our attention in the gallery’s current show. But where he’s made something of a breakthrough is his choice to select young, relatively unknown artists, the kind who once might have been called ‘up-and-coming’. But ‘Small Fires’ features works that have been conceived by artists, mainly in the 20s, who are already creating works that are refined, polished, and purposeful.

                                                                                       Eddy Ochieng. The WAit II

Not that the 18 artists were ‘discovered’ by Handah. In fact, at least three of the Kenyans have already featured in previous Circle group exhibitions. They include Sujah Shah, Wanjohi Maina, and Florin Iki who, at 21 years, also happens to be the youngest of the lot. But the show does reflects Handah’s desire to assemble an exhibition that featured a fresh and fascinating variety of young artists’ works.

Admitting he had to do a bit of research to put it all together, I call his curating ambitious as well as risky business, because who knew if the public would appreciate his taste in relatively unknown painters, photographers, print-makers, and sculptors?

He has definitely assembled a mixed bag of media, techniques, subject matter, and genres. But those contrasts are one thing that gives the show its kinetic energy and power. For instance, at one end of the gallery, you will find four sassy women standing tall in the Eritrean painter, Nahom Teklehaimanot’s ‘My Beginning, my middle, my end’ 1. Meanwhile, at the other end and around a corner, you are unexpected struck by Sujah Shah’s playful dancers in his ‘Séance’. Both use deep, bold colors to capture the mood of their moments. Both bring an ineffable quality of vitality and energy that makes them come alive.

                                                                        Wanjohi Maina, Hawkers Republic XIII

Then there’s the hyper-realism of Eddy Ochieng, the figurative stoicism of Adam Masava’s and Wanjohi Maina’s everyday people, and the marvelous aluminum mannequins made by Austin Adika entitled ‘Butterflies and Roses’ (a series) and ‘Kaninja’

But in addition to all the figurative works, there are several abstract pieces in the show, like Anita Kavochy’s untitled works, Taabu Munyoki’s ‘’Does my hair make you uncomfortable’, Patrick Karanja’s Untitled etchings, and Tanzanian artist Winifrid Luena’s light-infused ‘Metamorphosis X which is a photographic print on paper.’

Even the textile art of Tanzanian Liberatha Alibalio’s piece, ‘Reflection 1’ might be considered abstract, but I personally admire it for its marvelous mix of textiles (satin and cotton) and techniques, such as stitching both by hand and machine as well as quilting to contrast the geometry of her appliqued forms.

                                                                                               Anita Kavochy, 

There are still-life’s in the show, like Wanini Kimemiah’s ‘Acetone Fire.’ And there are even surrealist works like Eritrean artist Nebay Abraha’s ‘Cobweb VIII and X’ which convey a sadness that might come from living in a land that’s seen too many years of war.

Handah clearly spent a good deal of time finding these artists. The internet must have helped, but given the relatively youth of these artists, he had to track a number of them down on foot.

I had seen some of their works in various places,” Handah told BDLife days after the show opened on August 11^th “Some, like the Eritreans, sent us their portforlios, while I met others when I was visiting Tanzania,” he added.

                                                 Biniam Afewerki, The Longing Moment VI

But clearly, tracking down all of these young Kenyans took a determination to bring something new to the gallery where he’s been working for the last four years. Before that, he picked up curatorial skills with support of the Goethe Institute. He worked in several art venues after that, and even spent some time, on his way to early learning about the history of the Kenyan art scene, interning at Paa ya Paa Art Centre with Elimo and Phillda Njau.

Why I feel the ‘Small Fires’ show is special is because it introduces a number of emerging artists to a wider public, a public that is increasingly coming to appreciate contemporary Kenyan and African art, but may have gotten too comfortable knowing the so-called ‘established artists’.The 18 at Circle Art cannot yet be classified so easily. But all are on the move artistically. They are East African artists to watch.

Small Fires’ is up at Circle Arts until September 10^th.