It’s an ordinary day in Maringo, Ofafa Jericho, a low-income Nairobi neighbourhood. Puddles dot the roads, the air is crisp, and traffic on Mombasa Road crawls. Amid this, German street artist John Iven, clad in paint-splattered shorts and a lopsided bucket hat, continues his journey of socially conscious murals.
From the segregation wall in Gaza to streets in Jerusalem and Rio de Janeiro, John has built a reputation for using art to critique societal injustices.
“When I see big movements for social justice, I like taking part and supporting people with my art on their way to liberation,” he says.
One of his most memorable works was in Rio de Janeiro during the World Cup.
“We wanted to highlight mass evictions, the rounding up of street children, and the burning of favelas. But getting a wall was nearly impossible. People wanted money to offer space. We almost cancelled the project but decided to find walls ourselves. After the first mural, people loved it and gave us two more.”
His work often invites resistance. In Turkey, he painted a mural during the Occupy protests.
“The government took notice, and I was told to leave the country immediately. They wanted me arrested and the mural erased.”
Despite the risks, John remains dedicated. His financial model is simple: his company does commercial murals for businesses, and the earnings fund his activist art.
“We’re not born for decorative commercial work. We do it to support our real art—socially conscious messages.”
John’s presence in Kenya is inspired by the recent youth-led Gen Z protests.
A long exposure of pedestrians walking past art by Graffiti artist John Iven, a mural inspired by the Gen Z protests at Maringo Estate Nairobi on January 28, 2025.
Photo credit: Wilfred Nyangaresi | Nation Media Group
“I saw on social media about the Gen Z movement in Kenya. I admired their bravery and their passion for change that was not fueled by political figures or the opposition but by themselves and their desire for change. I think in Africa, it is a profound time for people to move forward as seen in places like Senegal where young people are changing the old structures and bringing in democracies that they want to live into life,” he says.
“I admired their bravery. They faced death but stayed committed to their mission. I felt compelled to contribute,” he adds.
Research led him to graffiti artist Smokillah, a pioneer in Nairobi’s street art scene, who helped him find a location in Maringo.
His mural there is striking: an angry, beaded girl emerging from a swamp, clutching crushed Mercedes Benz cars, wearing a bulletproof vest in Kenyan colours. Above her, a bleeding Kenyan flag.
“I was told about the bodies of dead girls found in a canal. I also learned about the crackdown on protesters. The girl in the mural represents Gen Z reloaded—alive and fighting. The crushed cars symbolise the wealthy political class.”
Yet he put a lot of thought into the mural, bearing in mind that the freedom of expression has been constricted as artworks land young people in trouble with the State.
“I wanted an inspiration that would not get anyone into problems from the owner of the house to the organiser that helped me curate it, to myself or young people.”
Graffiti artist John Iven poses for a photo in front of his mural painting inspired by the Gen Z protests at Maringo Estate Nairobi on January 28, 2025.
Photo credit: Wilfred Nyangaresi | Nation Media Group
John is modest about his influence but believes art can amplify conversations. He cites a Berlin mural of Julian Assange, painted at a time when his plight was being forgotten.
“After we painted it, discussions about Assange resurged in media. I’m not saying our mural got him released, but it helped reignite attention.”
For aspiring activist artists, John stresses education over technique.
“The message matters more than artistic skill. Before I paint, I read, talk to locals, and research deeply to understand the context. I don’t want to be the arrogant Western guy who assumes he knows everything.”
His hope for Kenya?
“I deeply respect those who had the courage to take to the streets. I hope my work contributes in a small way to their fight. And I hope they continue.”
