A celebration of African Artistry and Afrofuturism
enyamweri
wood, fabric, sisal, handmade batik, puff paint, seed beads, cotton threads
2025
“In the Gusii language, Enyamweri refers to an imaginary animal created during a traditional ceremony where girls acquire their maiden names, I imagine that it had a towering presence and demanded respect.”
Ancestral Veil
recycled leather, recycled vinyl, threads, puffy paint, eyelets, hair rollers, polyfill, cotton fabric, synthetic hair
2024-2025
“I’m drawn to faces—both literal and abstract. They appear in my work sometimes by accident, but more often with intention. My practice centers Blackness, celebrating our features and our beauty. Few things are as diverse and expressive as the way our facial features present—the divine beauty in full lips, defined jaws, high cheekbones, and prominent eye sockets. These are now widely embraced as beauty standards, yet rarely credited to Blackness.”
Cheki, Edibiriri!
seed beads, raffia, sisal, cotton threads, wool, polyester threads, recycled fabric strips
2025
“Over the holidays, we were all required to wear something red to visit the village. In the Gusii community, there is a strong belief in the power of the evil eye, locally known as ebibiriri. It is considered a form of negative energy that can bring harm, illness, or misfortune to individuals or their possessions. The belief holds that anyone can cast the evil eye— whether intentionally or not—and that some people are more vulnerable to its effects than others.”
Shanga za Nywele
ceramic
2025
“Shanga za Nywele translates to hair beads in Swahili. Embellishing our hair with naturally found objects back then and today with man-made objects is a beautiful way that this tradition has evolved, yes less loud and flamboyant today, but happy that it still exists today.”
I Am My Ancestors’ Wildest Dream
cement, grout, seed beads, glass, sand, cowrie shells
2025
“A celebration of ancestral resilience and survival. This piece affirms that we are living embodiments of their wildest dreams.”
engobo
leather, synthetic hair, puff paint, seed beads
2022-2025
”The traditional dress of the gusii people was a loincloth, it was a kind of passport, it showed the wearer’s status in society, age, and experience, based on the detail of adornment, the wear and tear and the embellishment done. Girls wore a beaded chain, called Egetinti on their heads during the initiation ceremony. It was also used in traditional rites to make an imaginary animal called Enyamweri, at whose ceremony girls acquired maiden names.”
BLACK
painter’s paper, acrylic paint
2024
“Created during a time of deep uncertainty around my immigration status, this piece became both a self-affirmation and a reclamation of identity. After facing repeated roadblocks, I was forced to confront a system that seemed built to wear down immigrants like me. In that moment, I turned inward—reflecting on my Blackness, my purpose, and the strength of those who came before me. This work is a personal reckoning and a bold reminder: Black is brilliant. Don’t question yourself, sweetheart!”
afande
ceramic, cotton threads
2025
“British colonial rule had a great effect on the loss of traditions as a people, corporal punishment was one of the ways used to keep them from practicing tradition. Today, the Kenyan slang for a police officer : Afande.”
Beauty lies within
synthetic hair, clay, dressmaking pins
2024
“An abstract portrait that centers the mouth as a symbol of inner strength. The piece challenges beauty standards and reminds viewers that true beauty radiates from within.”
orosiaga
paper, woven cotton, silky satin, cement, seed beads
2025
“Among the Kisii people, Napier grass—locally known as Orosiaga—is widely used as animal fodder and for thatching roofs. It’s also used in traditional scarification practices, where cuts are made on the skin for medicinal purposes, performed only by a traditional healer. Reflecting on the diverse uses of this plant, this piece imagines how the grass could be reinterpreted as a fashion statement. The waistcoat is intentionally heavy, evoking the weight I imagine traditional skins would carry, especially with all the adornments and layers of jewelry that were once worn—the weight of the costume itself.”
Mganga
ceramic, nails
2025
“Inspired by the Nkisii Nkondi of Kongo people, I worked on this piece over a couple of months, using it as a meditational piece, like a diary, small nails = small problems, big nails = big problems. Each nail symbolized coming out on the other side.”
Wahenga
ceramic, cotton threads
2024-2025
“Wahenga is the Swahili term for wise ones. The older you were in the society, the wiser you were believed to be, as a result of your experiences both spiritually and philosophically. The Elders among the gusii are often consulted to oversee important matters concerning their community. Also often, quoted long after their dead as a source of guidance.”
