A church near you likely bears his signature, but the most famous of Tonney Mugo’s works is the glass art structure at the entrance of the Kenya National Museum—a masterpiece poised to outlive its creator. Tonney , a pioneer of glass artistry in Kenya, works quietly in a studio punctuated by soft jazz and the deliberate clinking of tools.
Tonney’s journey into glass art is as intricate as his creations. Born into a military family, he was among the first students of Moi Forces Academy in 1980.
“I grew up knowing I could do art but only as a hobby. I majored in the pure sciences because I wanted to become a veterinarian, maybe even follow the family tradition into the military,” he shares.
But art, as he says, has a persistent call. “Even in science school, my art stood out. My diagrams were always sought after, and I enjoyed sketching animal digestive systems during lectures.”
Glass artist Tonney Mugo holds a piece of art during a workshop session at his glass studio in Karen Village, Nairobi on January 2, 2025.
Photo credit: Wilfred Nyangaresi | Nation Media Group
The turning point came after he met a glassworker in 1992 at Lonrho House, Nairobi sparking an interest that quickly became an obsession.
“I started researching glass, but back then, there was no internet. All I saw around me was stained glass, which intrigued me. Then I found a book, Glass Engraving Real Techniques by Stuart and Shirley Palmer. It opened my eyes to possibilities.”
Tonney reached out to the authors, forging a pen-pal friendship that deepened his passion. Later, a serendipitous meeting with German glass artists at Kitengela Glass provided further inspiration. One of them introduced him to a school in Germany, where he honed his craft.
“For me, I didn’t look for glass. Glass found me,” Tonney reflects.
The philosophy of glass
He views glass art as transcending cultural labels. “Art, for me, is without distinctions. Labels like ‘African art’ or ‘European art’ limit its essence. In Europe, they may be more advanced in technique, but art is universal.”
To Tonney, glass is a medium of transformation. “In its molten state, glass is at its most accepting—it allows you to shape, colour, and texture it. But once it cools, it becomes rigid and unforgiving.”
He explains the chemistry of color in stained glass: “We use oxides—cobalt for blue, copper for green. These oxides are fused into glass while it’s still hot. Different paints also have varied melting points, so the process demands precise planning.”
Tonney’s architectural projects, like stained glass windows, require collaboration with architects and clients.
“The window must fit seamlessly into the framework, so the artist and architect must align closely,” he says.
Lessons from glass
Tonney draws life lessons from his craft. “Glass is unforgiving; it teaches discipline. It’s smooth to touch but brutal when broken. These contradictions mirror life—no one owes you anything, and careful planning is essential to avoid harm.”
Glass artist Tonney Mugo holds a piece of art during a workshop session at his glass studio in Karen Village, Nairobi on January 2, 2025.
Photo credit: Wilfred Nyangaresi | Nation Media Group
He emphasises patience in mastering glass artistry.
“You can learn to cut glass in a day, but creating intricate designs takes time. Patience is a virtue glass teaches well.”
As a mentor, Tonney has trained many glass artists, always reminding them that glass is the true star.
Despite its challenges, he says he would choose glass again in another life. “Glass teaches lessons nothing else could. It’s a perfect balance, punishing extremes and rewarding harmony.”
For this quiet master, glass is not just a medium—it’s a calling, a teacher, and a legacy.
