The One-Off Gallery is a hidden gem nestled in nature. Surrounded by shrubs, thickets, and sculptures scattered among gardens and bamboo trees with trunks as thick as a man’s neck, it exudes a serene spirit of art akin to a gentle undercurrent.
The energy around it isn’t just from the playful pups that nearly took a nip at me or the gallery’s galvanized sheet ceiling, which bows and arches in corrugated spirals as if in awe of itself.
It stems from the month-long homage it has paid to a fine artist who has weathered the industry’s ebbs and flows for decades.
Kahare Miano stands stoic when upright, his posture slightly hunched when he sits. He speaks with a lingering rasp as he unpacks the nuances of his craft that have culminated in his current exhibition.
Titled 'Works in Progress', the exhibition reflects the myriad influences that inspire creatives to engage with diverse subjects, however intangible. This showcase, as Kahare describes it, serves as a foundation for a broader spectrum of works yet to come.
The exhibition partially derives from remnants of an art space he curates. Unused materials, such as partitioning plywood, have been repurposed into media for human figure sketches in chalk. This bold gesture underscores the essence of the displayed works.
Mixed media on paper art by Kahare Miano at the One-off Art Gallery in Nairobi on 12 January 2025.
Photo credit: Billy Ogada | Nation Media Group
Kahare dubs this collection the “trilogy of transformation,” a continuum of his artistic liberty to interact with his surroundings. “This process will continue until the day I stop drawing,” he reflects.
“I had so many drawings on plywood, but I only brought two to this exhibition that I felt resonated with the body of work on display,” he explains.
Introduced to art at a young age by his father—one of Kenya’s pioneering engineers—Kahare was encouraged to pick up a pencil and begin sketching. Over the past 55 years, his craft has evolved profoundly.
His art emerges from a keen analysis of his environment, driven by a design-oriented perspective. For him, drawing is a language fulfilling multiple applications.
“Art grants me the freedom to observe, engage, and interact with vibe, imagination, and various media, whether charcoal, graphite, or other tools,” he shares.
Timber plays a central role in his art, bordering on obsession. His murals interrogate various types of timber, including pine, juniper, jacaranda, cypress, and podo, each with unique textures that supplement his work. The pieces vary in form, appearance, thematic settings, and inspiration, offering a rich, textured narrative.
Works in Progress challenges conventional norms while inadvertently creating a value-based system that encapsulates Kenya’s history. From paintings celebrating the struggle for independence to pastoralism and cultural heritage, the exhibition offers a vivid storytelling tapestry etched through time.
Kahare pays homage to figures from his boyhood village of Mathira and workers involved in his current projects, blending traditional and contemporary styles. For instance, his mini-series Spokesman features Kenya’s independence hero Dedan Kimathi.
“I’m using the term spokesman because democracy has given us the licence to talk, but much of this talk lacks substance. Kimathi was a true spokesperson,” he explains, pointing to a portrait of the freedom fighter.
This piece is part of a larger series he’s developing. “I could have filled this exhibition with Dedan Kimathi works alone,” he adds.
Two major themes dominate this exhibition: landscapes and characterisation. The latter features individuals Kahare has encountered—except for Kimathi.
Mixed media on paper art by Kahare Miano at the One-off Art Gallery in Nairobi on 12 January 2025.
Photo credit: Billy Ogada | Nation Media Group
Many of his landscape drawings originate from the 1980s, created during his time in Narok and Nairegi Enkare. Kahare hints at revisiting this series on a grander scale, showcasing his patience and dedication as a craftsperson. Many of the works displayed were initiated over three decades ago.
Works in Progress offers a mere glimpse of Kahare’s potential. It’s a teaser to a broader narrative he plans to unveil by year’s end.
His masterful use of colour, precision in line work, and finesse in shading and collage reveal an artist at the peak of his powers. In conversation, his modest demeanour barely conceals the brilliance of his artistic vision.
This Works in Progress exhibition is not just a collection of artworks; it is a testament to character and craftsmanship destined to etch itself into the annals of Kenyan art history.