Travel and Leisure

Travel & Leisure Travel & Leisure

Nairobi Art Gallery: The Heart of Art By Oroni Tendera

I am standing here at point zero, the centre of Nairobi where distances to all parts of Kenya are measured. Right ahead of me, sits the Nairobi Art Gallery, carefully holding Murumbi’s African artefacts on her laps. Above me, a fluffy gigantic grey cloud threatens to break loose anytime from now. Lightning sparkles. Thunder roars. A bone freezing breeze blows furiously northward towards the historical Nyayo house tower. As if acting from a cue, traffic on Uhuru highway, adjacent to the art gallery, snarls and stalls. A giant raindrop lands on my clean-shaven head. Scared, I adjust my coat and spring on my toes. “Excuse me,” a sharp tenor voice cuts me short. It dawns on me, I have not paid entry fees. I turn back and mumble tens of incomprehensible apologies to the puzzled cashier, standing outside his office. He does not utter a single word. I part with Ksh 150, flash a fake 1000 watt smile at him and half walk half run to the reception.

My journey to the heart of art begins right here at the entrance. Two potted plants facing each other at the main door are dancing to the rhythm of the strong wind. Next to the plants, a collection of photographs and sample artwork of pioneer East African artists are on display. Each work has an interesting story behind it.

by Expedition Mwebe, for instance, tells the story of three women singers who often performed in The Old Makuti Pavillion of African Heritage Libra house in the 90’s, namely: Joy Mboya, Susan Gachukia and Susan Matiba. Then there is a photograph of Elkana Ongesa’s 30 tonne soapstone sculpture ‘The Bird of Peace Emerging from the Stone of Despair’ that was unveiled during the opening of the Murumbi peace memorial in 2009. Before Murumbi died (a former Kenyan vice president and art connoisseur), he had requested Ongesa to carve a sculpture for his gravesite. The giant sculpture currently stands elegantly on the grave of Murumbi at the City Park. Next to the photograph is Elkana Ongesa’s restored sculpture entitled ‘Dream.’ It was created after Elkana had a dream about the end of apartheid in South Africa in the early 70’s. The sculpture was destroyed in 1976 by fire that burnt down the only African heritage.

John Odoch Ameny’s sculpture of mating cockerel and hen, created of molten iron, beside ‘Dream’, does not escape my eyesight. Odoch pioneered the art of transforming scrap metals to sculptures in East Africa. During his early sculptural years, he used soft wood to create unique figures with convoluted bodies. He started using scrap metals for his artworks in the 1980s− mainly to address the emerging trend of technology and its impact in East Africa.

Without warning, a sheet of rain, carried by the wind, whizzes past me, smashing and scattering a million droplets of rain on my face. Partially blinded, I scamper into the art gallery.

There is an array of artefacts that appeal to all my sensibilities. I choose to whet my appetite for art with Magdalene Odundo’s pot, delicately displayed at the centre of the first room. The pot is reminiscent of the human form. Its structure follows the curve of the spine and hips. Magdalene’s art of pottery is a creative blend of early Greek Cycladic sculpture and traditional African pottery. Next to the pot is a carved wooden staff from the Kuba people of DRC Congo. It has decorations of melted aluminum pots on the border and is culturally used by Bakuba elders.

On my way to the second room, I walk past South Africa’s Charles Sekano’s painting of two scantily dressed lovebirds embracing each other, Duke Kombo’s reconciliation soapstone sculpture and a detailed portrait of John Katarinawe, Uganda’s versatile artist.

The second room is filled with the most spectacular, relaxed and nonchalant fabrics and clothes drawn from several parts of Africa. Ghanian Adinkira cloth printed with stamps made of calabash rinds, Ase Oke prestige cloth woven on narrow hand looms by Yoruba men of Nigeria, Fulani wedding blanket designed in checkered pattern, Kikoi hand woven cotton wraps traditionally worn by Swahili men of Kenya and Tanzania and the Bakuba fabric of DRC Congo woven from palm fibre among many others. I must admit that the sheer harmony created by afro fabrics in this room is immense beyond words. Each piece of clothe is a noble innovation, narration and inspiration.

“I would like to be a fashion designer in my next life,” I mumble under my breath as I swagger to the third room with renewed zest and zeal.

This (the third room) is a model of Murumbi’s former home at Muthaiga. It is a typical modern living room filled with wood carvings, soapstone sculptures, paintings, portraits of the late Mr. and Mrs. Murumbi, art tomes, rare books (published before 1900) and ancient Persian vessels. All these items were left behind after the demise of Mrs. Sheila Murumbi, in 2000, ten years after the death of her husband. The items are currently under the custody of the National Museums of Kenya and on extended loan with the Kenya National Archives

My reminder alarm screams, breaking the silence herein. It is time for me to leave. I have been here for the past one hour, pretending to appreciate art while in the real sense I have merged with art. Thank you Nairobi Art Gallery, your art has turned me into a storyteller.

Bonus •Nairobi Art gallery was built in 1913 and originally served as the colonial government office for storing records of births, marriages and deaths. •It housed the Nairobi PC’s office up to 1983. •Became KANU’s office from 1983 to 1989. •Degazzeted in 1993. •Presented to the National Museums of Kenya in 1997. •Renovated and refurbished in 2005. •Held an art exhibition featuring East Africa’s pioneer artists in April 2015. •Hosted a 3-day workshop for budding artists in December 2015. •Entrance fees: Foreigners Ksh 1000, East Africans 600, Kenyans 150.

Francis Nnaggenda’s Mother Goddess Africa at Nairobi Gallery