Grounds We Inherit is a duo exhibition by David Kipkoech, whose artistic name is Akiba, and Victoria Thuo, whose artistic name is Blaine 29. Curated by Santana Sino, the exhibition runs from August 22 to September 10 at HOF Gallery in the Kibera Arts District.
The exhibition features two distinct perspectives on contemporary African life. Kipkoech looks to the land as a space of identity, memory, and becoming, placing contemporary figures in historical landscapes while imagining new ways of being African.
Thuo explores the experiences in those landscapes, like social uncertainty, fractured systems, loss, unemployment, resilience and resistance.
Grounds We Inherit is a conversation between place, people, beauty, struggle, and inheritance.
In conversation with Victoria Thuo, Blaine, 29
What inspired the idea for Grounds We Inherit?
It comes from a series of works that I have been working on called Echoes of Troubled Times. It is a body of work that I have been working on and off for a few years. It reflects on the realities of our time, especially fractures in governance, uncertainty and crisis, the weight of unemployment, the pain of child abductions and the struggles woven into everyday life.
The series seeks to create awareness and provoke thought and an emotional response. The images used to depict different crises ask the viewer to think deeply about the artwork.
Kipkoech and I talk about the same things in our artwork, while Grounds We Inherit came from the curator, Sino. He asked me to do a body of work, and I came up with the theme Echoes of Troubled Times because I had already been working on it.
What does the title 'Grounds We Inherit' mean to you?
It means what was and what is now. What happened is still happening, and some things developed from the latter. I am showing 12 artworks.
Tell us about three of the works.
Chained Freedom explores how we are still being colonised. The painting examines the paradox of liberation, questioning whether political independence truly ends the legacy of colonial rule. It speaks to inherited systems of control, exposing the illusion of freedom and the enduring weight of colonial influence.
It was inspired by the fact that we are still paying pensions to British workers years after independence. We are still being colonised. The painting shows a bird trapped and yearning for freedom. The more it moves, the more it is entangled in the wires.
Another piece is titled Living in a Fish Bowl. The space in the bowl represents how much a fish can grow. I use the metaphor to explore governance, manipulation and oppression to reveal how power confines citizens within invisible boundaries of control.
They are exposed to constant scrutiny and denied true privacy. A person exists like a fish behind glass, seen from every angle, judged and conditioned to conform.
The work represents dictatorship, surveillance and the limits imposed on human freedom. It shows a man in a suit seated on a fishbowl, with a bag over his head to hide his identity. I felt that manipulation comes from many things, and you cannot always point it out. There is always a chain to it.
The third piece, This Side Up, shows a child resting in an open hand in a fetal embrace upon a blooming flower, suspended between vulnerability and hope. The gestures speak to the preciousness of childhood and the universal longing for safety.
The artwork seeks to create awareness about rising cases of child abductions, trafficking and violence. It is an urgent appeal to protect the innocent, nurturing every child with the care and freedom they need to bloom.
How do you respond to the social realities unfolding in these landscapes?
The work responds through symbolism and emotion. The paintings are a mirror of society that captures what is visible and what lies beneath the surface. For example, the government still pays pensions to British workers who have been here since independence.
What makes your perspective important to the conversation of the exhibition?
My perspective is important because, as an artist, I am using my ability to bring out the realities that are happening now and create conversations around them.
What does the exhibition say about the realities Africans are facing today?
The exhibition highlights not only the negative but also the progress we have made since independence. Africans have grown, but we are still struggling with recurring issues, such as still being colonised despite wanting to move forward. We are growing, but we are also still lagging.
In conversation with David Kipkoech, Akiba
What inspired this body of work?
It is a mixture of a lot of things, but at the core of it are landscapes and the identity of the land that we come from.
What are you showing in this exhibition?
I am showcasing 15 pieces of paintings, collage art, fashion, films and a game that I have been developing.
Collage art is usually spontaneous. I take pieces of paper and a blank canvas, and for the ones that I cut pieces from, I join the pieces together to build a story. That is more therapeutic and spontaneous and brings together one story.
I am showing them together because my work flows through each medium that I choose, and they are intentional. Each medium represents a different perspective and channels a different emotion. It is about what I feel at the time.
Tell us about two of the works you are showing.
Where the Mountain Meets the Lake depicts a man at the base of a mountain with a lake behind him. It is inspired by Lake Bunyonyi. When I was there, I felt that the lake was very beautiful. It is a very scenic place. I wanted to bring it out in terms of a painting and represent the lands that ground us.
A 254 monogram is a textile-based print. It is a piece of fabric with a screen-printed graphic containing about 15 different artworks. I have printed small artworks on the fabric. It is a monogram print of different things that inspire me from Kenya, including runners, wildlife, cultural icons and landmarks such as the KICC.
What stories are you telling through the figures in your paintings?
The figures that I have are more about aesthetics, especially in my fashion work. I like to choose a lot of vibrant materials and textiles. Fashion and photography are mediums that go hand in hand. They are tangible pieces and walking bodies of work. They speak about identity, self-expression and personal taste.
What does the land represent in your work?
We all come from the soil, and I usually say that anywhere you travel, you can make a mental note of something. When I travel a lot, I get to see different landscapes, and they inspire much of my work. My work is usually inspired by nature. It can inspire both the fashion and the art pieces.
How does landscape connect to identity?
The landscapes are a big part of who we are. They hold memories of how we were raised and how we perceive the world.
Why was it important to explore African identity through the land?
In this day and age, we migrate a lot, and, as humans, we are always looking for greener pastures. We migrate from the land we once inherited or our ancestors inherited. The memories that we had about the lands that shaped us are now lost in urbanisation.
We usually forget about where we came from, and I wanted to highlight the beauty of the landscapes since we do not go about it as much.
How does memory influence your work?
Memory is a big part of my work; sometimes you might think that you are imagining a visual. When you start expressing it, you find something about yourself. It is something that was already in your consciousness. It was not a new idea after going through life and becoming who we are now.
How do you approach colour in your work?
All the colours that I choose are inspired by nature. I like bold colours since they represent African identity. We get the colours from nature. For example, a shop can have vibrant red and green colours.
What do you want viewers to take away from your work?
I want people to feel like they want to get into nature more. I always travel, and I get inspired by nature so much. Some of us who are in the city a lot are trapped in routines. We do not get to experience landscapes and breathe fresh air. I want people to see the vibrancy of nature and immerse themselves more in it.
What does 'Grounds We Inherit' mean to you?
There is a lot to explore in the world, and I am curious to see where I can take myself, experience the people around me and my community, and see the world for what it is.
How does your work speak to contemporary African life?
I like to create new African narratives through different mediums. I can tell stories about my life and the community around me and bring new life to a modern-day, contemporary style.