Wednesday, 13 March 2019

WAREMBO WASANII WOMEN TRAINED TO BE JUNK GENIUSES


BY Margaretta wa Gacheru (posted 13 March 2019)

Warembo Wasanii isn’t just the place in Kariobangi North where Joan Otieno trains young women off the street to be environmentalists, concerned about cleaning up their garbage-strewn city.
She also shows them by example how to be tailors and fashion designers as well as conservationists who collect garbage and then upcycles it into costumes that are being shown everywhere from UNEP in Gigiri to the Landmark Mall in Karen.
Landmark also has a Plaza in K-North which is where Joan moved her Warembo Wasanii. Their rooftop studio is a beehive of activity where up to 14 young women are currently working with the ‘junk artist’ who’s a specialist in recycling garbage and upcycling it into everything from handbags, shoes and baby clothes to floor mats, hats, tapestries and other sundry items.
Joan’s studio is an open house of sorts where young women come, having heard of Joan’s good works by word of mouth. “Some are school leavers from the slums while others are university students who heard about what we do here and wanted to be involved,” says Joan.
“Esther [Wambua] was the first one to come. But after that, one girl would come and bring a friend. The word has gotten passed around like that,” says Joan who’s always created her art having fellow artists around. She’s worked with artists at Dust Depo Art Studio with Patrick Mukabi and company. She’s shared creative times with many graffiti artists. And when she’s had exhibitions at Alliance Francaise or British Institute, she’s worked with artists from Maasai Mbili, Kuona and elsewhere.
But since she’s been at Landmark, she’s generated her own group of blossoming ‘junk’ artist-designers.  They were rehearsing for their upcoming fashion show early this week so we got to see the amazing costumes made by six of Joan’s 14 mentees. “The rest are either taking exams or looking after younger siblings, but they all come regularly,” she adds.
Appearing one by one out of their dressing room were Ritah, Risper, Lourine, Yvonne, Esther and Idah. All were dressed in colorful costumes which were made out of plastic wrappers and stitched by the girls into dresses, skirts, tops and even one brassiere. All had made hats to match and several also had matching shoes and handbags.
If one didn’t look closely you wouldn’t know the wrappers had once contained everything from condoms and sanitary pads to cookies, plastic bags and straws.

  

COUPLES IN CRISIS IN MIRIICHI’S ‘FREEFALL’




By Margaretta wa Gacheru (posted 13 March 2019)

Justin Miriichi just got married. But it’s unlike any one of the three relationships portrayed in his latest psychological drama ‘Freefall’, staged last weekend by Back to Basics at Alliance Francaise, reflects anything like what he’s experienced thus far in his own married life.
That’s most obvious in the relationship between George (Tim Kinoo) and Joan (Daisy Temba) since they’re in love, but she refuses to marry him.
Meanwhile, wedlock for Henry (Nick Ndeda) and Alice (Wakio Mzenge) is also a far cry from the playwright’s own since he’s a newly-wed and this couple has been together nearly ten years.
And neither Constance (Mary Mwikali) nor James (Bruce Makau) bear any resemblance to Justin or Mildred since he’s not a freaky geek and she’s not a self-centered so and so.
In ‘Freefall’, all three couples are struggling with their unique dilemmas. In every case, the situation has gotten so challenging that they resort to seeing a therapist. The audience doesn’t see him/her however, since he’s invisible.  But he provides a convenient means for each couple to come clean with whatever’s troubling them.
Miriichi’s written psychological dramas in the past, but one thing that makes ‘Freefall’ successful is that he includes just enough levity in each story so we don’t get overwhelmed by the heaviness that dramatic dilemmas can devolve into.
Another reason his play worked well is because not only are the three couples radically different, their stories surprising in their development. But all six actors are well-cast and strong enough to carry the load that Miriichi packs into every part.
For instance, we see Alice is seriously disturbed from the outset. She looks pregnant, but she’s not. She’s clearly emotional unstable to the point of exploding into venomous tirades against her spouse at the drop of a hat. And Henry gets pushed to the brink of reason as he seems to be speaking to a brick wall. But this complicated relationship couldn’t have worked if the actors, Wako and Nick, were not capable of capturing the psychological subtleties implicit in their characters’ conditions.
Equally, Constance and James are worlds apart when they arrive at the therapist’s office. She is exactly what Henry says she is, namely self-centered and overbearing. But as she alleges, he too is non-communicative. This is partly because he’s given up trying to get her to listen to him and partly because he’s found an online friend who not only listens but laughs at his jokes. So for the couple, therapy is painful. But again, both Mwikali and Makau give powerful performances. They even manage to credibly bridge their differences and reconcile, which lesser actors couldn’t easily do.
The one relationship that seems almost incredible is George and Joan’s, since we know many couples that have ‘come-we-stay’ relationships. But the avoidance of marriage in the legalistic sense is usually the man’s problem, not the woman’s. He’s often the one shy of commitment, not her. But with these two, it’s Joan who’s determined not to get bound by a legal contract. Her rationale could have been clearer, but apparently she doesn’t want to be robbed of her freedom.
In any case, she leaves George mystified and slightly miserable. Why, he reasons, if they live together, eat together and publicly profess they love each other, why won’t she let him ‘put a ring on it’ as Beyonce says. It’s not quite clear. In fact, this is the one relationship of the three that ends inconclusively. George is obviously dissatisfied, especially as he wants to start a family and she’s not game. We don’t find out if he gets so fed up and finally leaves. All we know is she’s unlikely to budge.
We can speculate that Joan has seen too many marriage bust up and she doesn’t want to risk the heart-ache. Or perhaps she’s got goals to fulfill that she knows she won’t do once she’s got children.
Either way, all three couples reveal aspects of Kenyans’ everyday private lives. That’s another reason ‘Freefall’ feels like Miriichi’s best script yet, and one that probably has the capacity to be staged and well received outside of Kenya and even overseas. It’s because he grapples with contemporary issues – of mental health, the meaning of matrimony, monogamy and even issues related to children, child birth, infertility and infidelity, all issues that affect relationships everywhere in the world.


ARTIST JOAN OTIENO@K NORTH WITH WAREMBO WASANII PT 1

Tuesday, 12 March 2019

RAMPELBERG & RUPAL'S 'CLASSIC CONTEMPORARY' SHOW AT VILLAGE MARKET



By Margaretta wa Gacheru (posted 12 March 2019)

If you’re looking for ideas on how to decorate your home and don’t know the best place to go, why not try Village Market’s Exhibition Hall where a home interiors show entitled ‘Contemporary Classics’ runs through this coming Sunday.
The show features warm, richly-grained wood furniture by Marc van Rampelberg of Rampel Designs and unbelievably elegant wall papers and fabrics by Rupal Rach of Design for Living. Together they create such a cozy, charming and tasteful setting out of their show that one almost forgets you haven’t walked into somebody’s elegant home.
                      Marc's coffee table topped with Anthony Wanjau sculpture & backed by Rupal's elegant wallpaper

Using partitions to separate each space and cleverly create a semblance of separate rooms, Marc generated an entire floor plan for the hall. Initially, you walk into the ‘foyer’ and find an elegant chest of drawers (made with solid Mavuli wood) topped with an original sculpture by a relatively unknown artist, Samwel Wanjau, Jr. You need not be told that he’s the grandson of the great, late Kenyan sculptor, Samwel Wanjau Senior since you can see echoes of the elder in his grandson’s artwork. The mirror above the drawers is round and welcoming, also made from Mavuli by Marc.
                                           Sculpture by Samwel Wanjau Jr, son of Jackson who's son of Samwel Sr.

Then comes the living (or sitting) room where in place of those over-stuffed pseudo-Victorian sofa sets, you find beautifully upholstered sofas and chairs created by Marc. But one sofa’s modeled after the French furniture designer Chareau’s style. And what looks like the most comfortable seat in the room, Marc says is a ‘French Club chair’ modeled after one by another famous Frenchman, Follot.
“All the other furniture in the show are my designs, but I prefer to credit my sources of inspiration,” he says.
                                  Marc and Rupal stand beside Marc's chests of drawers, chair with Rupal's wall paper

Meanwhile, Rupal’s work is everywhere, especially as she and Marc use her painterly wall papers to cover every partition as if to frame each room with a warmth and beauty that’s gentle and joyful to the eye. For wall paper like Rupal’s has the capacity to transform an ordinary space into one’s that exceptional and memorable.
Trained as a textile engineer at University of Manchester, Rupal only opened her company eight years ago. But already she’s got clients like the Aga Khan, Finch-Hatton family and Radisson Group. The reason she’s attracted such a high-end clientele will be clear once you reach their ‘Contemporary Classics’ show. Her fabrics and especially her wallpapers are exquisite. She makes every ‘wall’ in the show look like it’s covered in a work of art since the sources of her wall paper are literally classic. They range from traditional Chinese and modern Japanese art to African geometric designs and German patterns drawn from all over the planet.
What’s more, the term ‘wall paper’ is a slight misnomer since it might look paper-like, but Rupal says today it’s actually made out of vinyl which she tops with a wide range of fabrics. Her ‘paper’ comes in silk, linen, cotton and even cork which she occasionally ‘pearlizes’ to create a relief-like textured effect on her walls.
                                                           Rupal's Chinese print on wall paper at Village Market

Then beyond the ‘living room’ (which includes a sweetly curved chest of wooden drawers and tall ‘club table’ for when you have friends over for cocktails) is the dining room. There, Marc displays his magnificent Mavuli oval dining room table with matching benches. They’re surrounded by Rupal’s Japanese prints on the partitions. The table is the kind you’d love to have in your dining room, especially if you have a big family or love having friends over for meals. And with flexible seating on the benches, you can entertain many or few and the table can suit them all.
Finally, the last ‘room’ to see is the bedroom with the chest of drawers, night tables and bed made out of matching wood. The room itself is casually cordoned off. But inside, Rupal’s wall paper enhances the warmth already generated by Marc’s wood work.
                      Marc's writing table and chair topped with Naomi's glass art,backed by Richard Kimathi painting

Plus the bedroom is where you can easily see more of the artistic touches that Marc has made to the exhibition. They include paintings by leading Kenyan artists like Peterson Kamwathi, Anthony Okello, Beatrice Wanjiku and others from his private collection as well as sculptures by Gakunju Kaigwa, Morris Foit and two more Wanjau’s, Anthony and Jackson both of whom, like Samwel Junior, clearly inherited the elder sculptor’s gene since all their wooden works are beautifully carved.
                                                 Peterson Kimathi reclining figures, part of Marc's private collection

The other artist whose hand-painted glass art enhances the elegance of the show is Naomi van Rampelberg, another artist who like the Wanjau’s has got artistic genes in her marrow and bones.
                                             Beatrice Wanjiku painting is also part of Marc's private collection