Journey of self-exploration and cultural reflection through art

Prina Shah, a contemporary artist, is currently showcasing her work, titled ‘Doorway to Memory’, at the Nairobi National Museum till the end of the month.

The installation consists of seven large spheres, each symbolising one of the seven chakras crafted from twisted paper cones, a process requiring great focus and patience.

Rooted in Hindu traditions, these chakras represent spiritual power centres within the body. Suspended in an ascending order to mirror the chakras within the human form, each sphere contains evoked memories inscribed in Swahili, English and Gujarati, with ink colours corresponding to each chakra’s energy. The installation invites viewers to explore their inner selves, creating space for reflection.

The Star caught up with Shah at the Museum, narrating her journey since participating at her first exhibition in 1995 at Gallery Watatu in Nairobi after being selected through a competition.

What inspired you to pursue a career as an artist?

From a very young age, I always found myself drawn towards expressing myself through creative ways. From drawing on paper, creating mini sculptures in the outdoors or finding discarded materials and making something new.

I spent my childhood observing my mother sew on her saris and create beautiful designs, and holidays were spent drawing at my uncle’s. Coming from a culture where homes are adorned and decorated during annual festivals with arts expressing cultural stories, I believe all these pockets of experiences had a great influence on me, which I then pursued as a career in the arts.

What did you study and how did you find your way in the industry?

With a diploma and foundation in fine arts, along the years, I visited artists’ studios during my travels, which exposed me to different mediums and cultures. Upon my return to Kenya, I attended workshops and facilitated workshops at the Kuona Trust, which back then was here at the museum. This later opened doors for me to teach art part-time as I began to create my own work. Kuona Trust was my studio space at that time, together with other amazing artists.

I later ventured out on my own, becoming a founder and creative director of a company where I designed and created installations and awards in glass and various mediums.

In those 20 years, I had the opportunity to work in the corporate world alongside interior designers and architects, government organisations, banks and institutions, building my network and developing further skills, while taking part in a few exhibitions in a year, both local and international.

It was in 2017 when I decided to make the switch to be full-time in the studio and still facilitate for the corporate world. I haven’t looked back since.

How has your artistic style evolved over time?

It has developed quite drastically in the last decade. My art has evolved as I continue to evolve as a human being.

It has come about from a lot of personal development, working on myself, understanding the self, developing my emotional intelligence and, of course, my artistic skills.

A deep curiosity led me to explore the possibilities of the self and consciousness. My art serves as the documentation of the internal transformative process, with a vision to enhance human consciousness by changing perspectives through art.

Through this approach, I began my journey of self-exploration and spiritual investigation, questioning oneself and the complexities of identity.

What are the key moments or experiences in life that have influenced your work?

The earliest was witnessing the attempted coup in 1982 at the tender age of nine. Leaving the country to seek refuge in London resulted in separation from my family and loved ones. As a child, I had encountered division, separation, physical, political and cultural boundaries.

Other experiences have been gender discrimination, racism and loss. It’s incredible how certain events and experiences in one’s life can have an impact and shape your way of being.

For me, these are important and critical conversations as an artist, which are part of the exploration in my work.

How do you decide on the themes of your work?

My work has been centred around the journey of the self, so it all depends on what I wish to explore at that given time. My curiosity and awareness on a particular topic or experience and observation will strike up a conversation from within.

Do you have any rituals or routines that help you get into a creative mindset?

Yes. Every morning, I meditate. Meditation is where I get to pour into myself and meet myself. Where I am fully present and aware in that moment. I start my meditation with an intention. This allows me to gain clarity, clear any noise from within and become part of the flow of expression. I begin sketching and then it is all play from there on.

My studio is a space where I can share my experience, heal, reflect and reinvent myself.

How do you stay inspired and find new ideas for your art?

Curiosity and observation. Honestly, I am self-propelled. My explorations are always ongoing. My nature is to constantly question. The questions lead to other questions, which then leads to the beginning of an idea.

I have come to realise that what you seek is seeking you, and so I trust in the process.

What has been the most rewarding moment of your career?

Witnessing my own growth. My career as an artist is a continous learning process. I have barely scratched the surface!

Also, meeting people from all walks of life, to collaborating with those that share a similar vision, and just really finding joy in what I do.

It’s not just one memory for me, but creating memories that I see as rewards.

How do you showcase your work?

By taking part in exhibitions that align with my practice with galleries and institutions where curators are involved. I’m currently represented in Washinghton DC, where I recently had a solo exhibition.

Also, showcasing my work in my studio, and utilising social media to widen my audience.

Take me through your creative process and some of the projects you have exhibited.

My process involves research and sketching ideas because it develops my creative thinking and narrative visually.

The materials I use also depend entirely on the work I am exploring at that moment. In recent years, I have been drawing inspiration from my Indian heritage of the Bindi by using the Circle as an all-perceiving eye. A form associated with infinity and cyclic movements.

For example, ‘Inner whispers’ series examined how words have power and energy, and how we communicate with ourselves consciously or subconsciously. It was an exploration of the collection of ideas and experiences that make up our identity, some of which recur and resurface at different points in time.

I wanted to know what this looked like visually and energetically. The works were text-based, representing thoughts, emotional states and beliefs that radiated outwards and inwards and appeared dynamically charged with the use of various colours. Each colour having its own significance.

The idea was creating awareness of our inner dialogue and questioning that space within.

‘In Transition’ was created for my solo exhibtion in Geneva in response to the impact the pandemic had on the self, including the process of grief from the loss of my father from Covid-19.

In part of the works, I used wedding invitation cards I had collected over the years. Symbolic for carrying history, each one had its unique story. They carried an energy of touch, personal visits and connections, all of which were once a natural state of being.

The artworks challenge the idea of space and transition, inviting viewers to see new perpectives and new ways of being through deep awareness.

The second part, called ‘Here and Now’, were works communicating the process and journey through grief using wool on cotton paper. Wool used for its softness as I allowed myself to heal from a space of love and compassion.

Circular forms were handsewn by the act of being present using different colours to describe different emotional states. The simple yet very difficult act of merely being present in this process was unfolding that the power of healing is in surrendering to the “here and now”.

The ‘Unseen series’, my solo exhibtion in Washington DC earlier this year, was the beginning of the exploration of the knowledge and customs of my forefathers. A practice into the tools and methods used to cultivate one’s mind, body and spirit through awareness.

Each piece reflects an unseen energy core that permeates in different parts of the body. Consider it a portal through which you can see more of yourself, a celebration of where you have come from, where you are and where you wish to be.

‘Doorway to memory’ is a continutation of this exploration.

How do you see the role of art in society today?

Art plays a critical role in society and cannot be over-emphasised. It gives historical context, shapes our collective identity as a people, gives us knowledge about our past and present actions.

The world is rapidly evolving and with technology at our fingerprints, the voice through art can reach vast communities. Subconsciously or consciously, it has evolved into a therapeutic platform with a beneficial outcome.

How has your family helped shape your career, and how did you overcome the loss of your father?

Its important to have a support system. My family has been extremely encouraging and supportive. I also have an extended family that consists of the art community, friends, collectors and my audience.

They all play a huge part in shaping my career.

Can one really overcome the loss of a loved one, is the real question. Once I accepted the loss, I have had to learn to adapt to grief when it comes and goes, while making a choice to celebrate his life and the moments we shared.

How do you handle criticism?

Constructive criticism and feedback are good for growth. Years in this profession have taught me that the key is to listen and take it as an opportunity to learn and improve. I am constantly learning.