By Margaretta wa Gacheru (posted October 13, 2017
Leevans
Linyerere’s first solo art exhibition just ended last week at the British
Institute of East Africa. He’s among a number of ‘young’ rising stars in the
Nairobi arts scene who’s taken advantage of BIEA’s rapid reorientation from
being an exclusively academic space to becoming more of a multi-cultural arts
centre.
Joost
Fontaine, the Dutch anthropologist currently holding the director’s post at
BIEA is the one responsible for opening his institute to new audiences as well
as new artists.
His initiative
has been especially welcomed by a band of talented graffiti artists who are
currently showing their work at BIEA. Their exhibition, entitled ‘Come Witness
the Rebirth: Afro-Renaissance’ opened last weekend, right after Leevans’ show
came down, on October 14th.
The six ‘street
artists’ currently on display go by their nicknames. So there’s Swift, Kerosh, Native,
Wise 2, Sogallo and Kimani.
But just before
their artwork went up, Saturday Nation
had a chance to speak to Leevans who initially described himself as a ‘self-taught’
artist who was grateful for the mentored he’d received from Patrick Mukabi
starting from when Patrick was still at The Go-Down Art Centre. He’s still
based three days a week with Patrick at the Dust Depo Artists’ Studio which the
elder statesman of urban art founded back in 2015 at the Railway Museum.
But SN chose
to explain to the 26-year-old that the term ‘self-taught’ has generally been
rendered obsolete and is frankly inaccurate. For whether one went to a formal art
school or not, every artist has been influenced by someone and several things
that have inspired them to take themselves seriously as an aspiring artist.
With that
clarification, Leevans admits he’d grown up watching his mother sketch and then
stitch her designs using a sewing machine.
“I used to
dash home after school and quickly complete my homework so I could go watch my
mom stitch and sketch, he says. “I often tried to imitate her,” he adds.
Then once he
went to Kaimosi Friends Secondary School, he found art classes being taught.
These he took every year that he was there.
So while he
credits Mukabi with mentoring him on many artistic and logistical levels, Leevans
admits he had already learned lots of the basics about painting before he found
his way to the man most responsible for setting a multitude of local artists on
the path to professional careers.
It was while
working at Dust Depo several months back that Leevans met a Swiss graffiti artist
who was on his way to Western Kenya where he’d been invited to give a workshop
in Kisumu at the Korando Orphanage and Education Centre.
“On his way
back from his week-long workshop, he [the Swiss man] stopped by Dust Depo again
and encouraged me to go run another workshop for the children,” Leevans
recalls.
“I was so
inspired by the experience of working at the Centre with those kids that I dedicated
all the work in my [BIEA] show to them,” he says.
Splitting his
exhibition between figurative monochromatic paintings and colorful abstract
works, Leevans says he intentionally kept his realistic pieces in black and white
while each of his abstract works were conceived using colors that would otherwise
have been found in the figurative paintings.
Drawn from
photographs taken of the children playing and the European volunteers planting
trees in the school’s garden, Leevans wanted his definitive black charcoal lines
to contrast sharply with his pure white background.
SN has previously
seen paintings by the artist in various group shows such as ‘Young Guns’ at
Circle Art, Manjano at Village Market, Nairobi Art Fair at Sarit Centre and the
KMS Affordable Art Fair which opens this year on November 3rd at Nairobi
National Museum.
In all of
these earlier exhibitions, I’ve appreciated Leevans’ sensitive blending of
colors and delicate attention to detail. But I respect his desire to experiment
with a variety of media, genres and styles.
Currently,
he says he’s working with acid and black paint on thin sheets of brass. “I was
inspired to try painting on brass by my next door neighbor [in Komorock] who
makes brass badges for the Kenya police,” Leevans says.
Initially, his
neighbor let him take away his metal scraps. But after a while, the artist decided
to try using the brass like a flat stretched canvas.
“Instead of
a brush, I use the acid to cut lines and create the designs on the brass,’ adds
the artist whose works will next be on display at the National Museum next
month at the Affordable Art Fair.
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