PAN-AFRICAN ARTISTS UNDER 30 ON SHOW AT VILLAGE MARKET

By Margaretta wa Gacheru (posted April 18,2023)

The internet has become a global art gallery where artists both interact with one another and with the public and prospective clients. Its main channels of exchange and public display are Instagram and What’s App. It’s most effective among the ‘youngsters’, those ingenious generations who have grown up with WIFI and cell phones and Instagram. They are also the ones who find Facebook passe, the space where their parents, and occasionally their grandparents, go because they think they can spy on the youngsters there. They’ve never heard of SnapChat which is one that an eight-year-old introduced me to and where I’m hearing from increasing numbers of artist friends who are mostly under 30.

It was online, mainly on Instagram, that Thadde Tewa met all fifteen of the under-30-artists whose works he curated and is currently exhibiting at Village Market in the large assembly hall on the top floor next to the parking area. The exhibition, ‘Unbound: A Glimpse into the Future of Figurative Art in Kenya’ is actually a Pan-African affair, showcasing artists from Nigeria and Angola as well as Rwanda, Uganda, and Kenya. The majority of paintings are by Kenyans. And while he’s met them all face-to-face, they still find the quickest way to communicate is online via What’s App. “I wanted this show to be about the so-called emerging artists, the ones who may be young, but gifted and eager for the exposure I want to give them,” Tewa tells BD Life the day before the show’s official opening.

And while many might want to be showcased in the older, more established galleries like One Off, Circle, Red Hill, and Banana Hill, that time is likely to come if their talent endures and their techniques polished and proven. Actually, there is lots more attention being given to young gifted artists than ever before. There are more ‘Open Call’s’ being sent out from various platforms from all ‘round the world. That includes the galleries referenced above as well as institutions like the Nairobi National Museum, Kenya Museum Society, Mukuru Art Club, Wajukuu Art Centre, Brush tu Art Alliance, Kuona Artists Collective and also the newly-revived Kenya Arts Diary.

All are paying more attention to up-and-coming artists who are gifted but under-exposed and wanting an opportunity to be made more visible. “I’d been following many artists online, and I’ve seen them put their latest works on Instagram to let people know what they are currently doing,” Tewa explains. “Quite a few already have clients who are collecting their art. The collectors are especially interested in seeing what their artist is working on right now,” he adds. What seems clear is that Kenyans are increasingly including themselves in an international online art scene. They might not yet be as notable as the Ghanaian artist El Anatsui. But our more established artists are already logging into the pantheon of contemporary African artists.

For now, the young Kenyans in this show are all in their 20s and they’re mostly men, including Coster Ojwang, Eric ‘Stickky’ Muriithi, Kelvin ‘Kevo’ Wambugu, James Kagima, Munene Kariithi, Rasto Blast, Solomon ‘Solosanaa’ Luvai , and Tim Ochola. Among the women in the exhibition, there are two from Kenya, Muthoni Mwangi and Njeri Kagima James, two from Uganda, Babirya Erinah and Victoria Nabulima, and one out of the two from Nigeria, Bridget ‘Bibi’ Van Grieken. The other Nigerian is Oluwatobiloba Fasolejo, the Rwandan Josue Pierre M., and the Angolan is Benigno Mangove.

The show itself is impressive, especially as so many paintings had to be shipped in. And given Tewa’s ‘art gallery’ is also virtual, mobile, and practically a one-man show, one can’t help appreciating his initiative and commitment to African art. There are many gems in this show. For instance, Bridget van Grieken’s ‘Blue Dream’ is haunting in its portrayal of an African blue-black beauty while Victoria Nabulima’s women in ‘The Waiting’ seem to tell a story that their assemblage knows too well, and Rasto Cyprian’s ‘Baptism’ seems to be filled with expectation and hope.

Kelvin Wambugu’s ‘Man, Go Unchained’ could easily be seen as the best expression of the Exhibition’s title, ‘Unbound’. “The horse in the painting doesn’t have a bridle, yet he moves freely with the saddleless [and shirtless] man riding skillfully on his back,” says the painter who looks surprisingly like the horseback rider. There is a lot more to see and discuss about the more than 40 painting in this show. One hopes Tewa will host an ‘Artist Talk’ or two before the exhibition ends.