In a timely exhibition at Embe Creatives in Maji Mazuri, Lavington, artist Nyerere Michael presents A College of Priests, a series that examines the nuanced and often complex relationship between church and State in Kenya.
This collection, which brings together striking depictions of priests, symbolises larger ideas of humanity and community. Michael’s inspiration to focus on religious figures emerged unexpectedly when a viewer inquired about the lone priest in one of his earlier works, sparking in him a deeper exploration into the symbolism, roles, and collective presence of clergy in society.
Michael’s journey with this theme has evolved from a reverential take on liturgical symbols to a more layered commentary. In one notable piece, he presents a priest dressed as a joker, a stark juxtaposition he calls system ya ma-clowns, inspired by the questioning and defiance of Gen Z movements toward the government and the relationship with the church.
While his work could be perceived as controversial, Michael sees it as an exploration, not a critique, of religion. He recalls his own Catholic upbringing and his time as an altar boy, which left a lasting impression of the solemnity and grandeur of priestly robes—elements he now incorporates into the rich textures and vibrant colours of his work.
Far from mere representation, Michael’s pieces speak to the intricacies of identity and power. Recently, a group of priests visited his studio and reacted positively to his work, acknowledging its resonance with contemporary society.
His palette is bold, his brushwork refined—a skill he attributes partly to his experience teaching children in Lamu, where he observed their uninhibited approach to mixing colours.
“I would watch the way the children would innocently mix the paints and admire the effect then come back and replicate this in the studio to create a richness,” says Michael.
Despite not attending formal art school, Michael credits mentors such as Patrick Mukabi and Peterson Kamwathi for shaping his craft, noting that his artistic education has been communal and deeply collaborative.
“For instance, I learnt my bookbinding craft from the BrushTu Collective in Buru Buru and I continue to learn about art forms from many artists globally,” he says.
But before the mentors, Mr Karanja, his principle at Moi Secondary School, Nakuru had planted the artistic seed. “Whenever he travelled abroad, he would bring me paints which I would use in art class. He saw potential in my art form, but that did not mean I escaped his discipline as he wanted me to pass my exams,” Michael fondly remembers.
He also credits his mother for urging him to pursue art and constantly following up on his progress along the way.
Visitors admire artwork on November 4, 2024 at Embe creatives in Lavington, Nairobi.
Photo credit: Billy Ogada | Nation Media Group
Path of self-discovery
Michael moved to Nairobi in 2016 to pursue art full-time, initially producing work reminiscent of Mukabi’s style. During the Covid-19 lockdown in 2020-2021, he embarked on a path of self-discovery, using his fascination with motorbikes as a new creative direction.
Today, his work examines social gatherings, human movement, and the collective experience—concepts informed by British artist Jenny Saville’s focus on the body’s physicality. Although he currently refrains from selling pieces from A College of Priests, Michael sees the collection as a work in progress, with more concepts waiting to be expressed on canvas.
In a parallel narrative of artistic introspection, Chege Gitura presents A Symphony of Nature at the National Museum of Kenya. This exhibition, his second since 2011, reflects a passion for environmental preservation, sparked during long, meditative walks in Karura Forest during the Covid-19 pandemic. Gitura’s collection of 20 works captures the vibrancy of natural landscapes, from the dense canopy of Karura Forest to the intense sunsets of coastal Kiwayuu.
Each piece is a testament to his impressionistic approach, capturing fleeting moments of light and color. His love for nature is also inspired by the late Wangari Maathai’s environmental legacy, lending a depth of purpose to his creations.
Gitura attributes the long gap between his two exhibitions to his desire for art to remain a labor of passion rather than profit. With a background in interior design, he is drawn to European museums and the rich histories they showcase.
As an impressionist, he values the spontaneity and emotional depth that his art captures—qualities that resonate with his belief in taking the time to observe and understand one’s environment fully.
Through the works of Michael and Gitura, Kenyan art reveals its power to navigate complex themes of faith, identity, nature, and societal introspection. Both exhibitions are open to the public, with A Symphony of Nature running until November 30 at the National Museum of Kenya, inviting audiences to engage with the artists’ reflections on the human experience.
