Gor Soudan’s approach is essentially conceptual. He greeted me in his new small studio not too far from the Circle Art Agency. He came to art by way of his passion for philosophy. Translating an idea, concept or observation into material form and letting the process of making  and the properties of the materials (wire, ink, metal) intuitively guide him are two of the guiding principles of his working process.

I first encountered Gor’s work in 2013 at the 1:54 Fair in London at the ArtLabAfrica’s booth. He was making figurative sculpture out of “protest wire”: fragments of the human form that felt deeply poetic in their incompleteness and nest-like forms. Gor favors working with materials he finds in his surroundings and at that time he was working out of a space in Kibera, a large slum on the edge of Nairobi and was recycling this wire which was left over from burned car tyres set afire during earlier riots.

His work has been well received and he is now able to afford his own space, which while  small by Western standard, is a real treat for Gor. He tells me how he used to weave the wire while sitting in a chair with the wire resting on his knees.

Equating this weaving process to drawing in space his subsequent investigations into drawing on paper were a logical move for him.

Currently he is particularly drawn to the Arabic wood carvings that one finds in Lamu and he is incorporating some of their patterns in his recent drawings.

I later went on to pay a visit to Michael Soi who has a studio in the GoDown art center situated in an abandoned industrial complex.

Known for his biting critique of China’s increasing presence in Kenya – his work is mostly satirical and critiques Kenya’s social, economic and political contemporary situation – he is currently pointing the finger at the rampant sex industry in Nairobi.

Deeply aware at the corruption crippling Kenya at all levels and seeing his art as an agent of change he deliberately makes his work explicit and easy to read. He wants his audience to get what he is saying. He paints cartoon-like scenes with flat and bright colors. His work resonates with a younger audience in Nairobi and as Danda says “ He brings a young dynamic Kenyan crowd because they get what he is doing. It’s social commentary, it is cheaky.” Next door to his studio is his shop where he sells totes that bear his signature style. A successful business it provides him with a safety net: “ I paint what I want to paint. I can do this because I have a safety net!”

Other artists to follow are:

Paul Ondoti

Jackie Karuti

Mimi Cherono Ng’OK

Muchiri Njenga