According to him, receiving mentorship can help someone learn just as much as going to college, and in some cases, it can even help someone learn more effectively.
Popularly known as Kaymist in the art industry, he believes that some fine arts, art and design institutions provide their students with more theoretical instruction than hands-on training.
Due to a lack of resources, he was unable to attend college. However, since he ended up doing what he loved and had a passion for, he never regrets passing up that chance.
Kaymist was born and raised in Siaya county. His first exposure to art was during his younger days in primary school, watching his dad create teaching schemes that incorporated art and craft, which ignited his interest in art.
He studied art and craft in primary school until fourth grade, when the government revised the syllabus and the subject was discontinued.
His parents disagreed with his career choice and didn’t believe one could make a living from it and enjoy a comfortable life. However, Kaymist was convinced that fate had set him on that path.
Earlier this month, Kaymist held an exhibition titled Distant Relatives II at the Creative Gallery in the Nairobi National Museum. The exhibition is a continuation of his earlier works from Distant Relatives, which was first showcased in 2021.
Distant Relatives is an idea that he had for a long time, partly inspired by the Distant Relatives album by Nas and Damian Marley. “I believe that people are relatives despite their geographical differences,” Kaymist said.
His artistic approach often starts with portraits of human figures or other subjects, which he manipulates by incorporating bold Afro patterns and dark elements.
This unique style bridges the gap between traditional canvas painting and street art.
Kaymist primarily works with spray paints (aerosols), emulsions and acrylics. As an artist, he remains open to exploring other mediums, while his focus on African subjects reflects his deep connection to his heritage and culture.
Kaymist spoke to the Star about his journey, showcasing his works on an international platform and his role as a founding member of the graffiti crew BSQ (Bomb Squad).
Distant Relatives was inspired by the concept of cultural
connections that transcend borders. What are some of the personal experiences
that influenced this exhibition?
Having travelled around
the country and lived in various places, I have observed how different
communities interact with one another and how they treat people from other
regions with diverse cultural backgrounds.
What role do you believe art plays in preserving traditional and cultural practices?
I think art gives a different perspective on things people don’t understand or aren’t sure about. Art is also the mirror of the community; it shapes and influences a society.
People can also learn about other communities, their culture, identity and traditions without having to travel there.
Patrick Mukabi was your first mentor. How did you two meet?
After high school, I didn’t have the opportunity to go to college. I had set my mind on wanting to do art but I didn’t know how to go about it. As I was searching for a place where I could learn, I came across GoDown Arts Centre in Kilimani.
I approached the security guard and asked him if there’s anyone who could tutor me about painting. He then gave me Mukabi’s contact. That gesture set me on the path to having someone mentor me.
When did this happen, and what was your first day meeting Mukabi like?
It was in 2009. I met him two days after receiving his number and speaking with him over the phone. He was very friendly. He was my mentor until 2012.
I used to visit his studio every day, observing and learning. I would assist him whenever he needed something done, and if I made a mistake, we would work together to correct it.
How important was the mentorship period to you?
I learnt a lot. I had the opportunity to interact with a lot of other artists at such a young age and learn from them. It also helped me build my character and skill as an artist.
When was your first exhibition?
My first exhibition was at Dari restaurant in 2011. Seeing my art pieces displayed on the walls was an incredible feeling. By that time, I had also started to sell some of my works.
The most expensive piece I have sold was priced at Sh120,000.
In which other countries has your work been exhibited?
In addition to Poland, where one of my canvas pieces was acquired by the Polish Museum of Contemporary Art, my work has also been showcased in Australia and Belgium. In both countries, we created murals on canvas as part of collaborative art projects.
How does it feel when people in different countries resonate with your work?
It feels great because if someone relates to or my artwork impacts them in a certain way, I feel like I’ve achieved what I wanted. My work mostly portrays three parts of existence: past, present and future, and I leave it open for people to just interact with it.
If I assign a specific meaning to it, I risk limiting people who might want to think differently and interpret it in their own way, as we all have different experiences.
As a founding member of the BSQ, how did the idea of forming the crew come about?
We were having a mentorship programme at the Kenya National Theatre and Cultural Centre with a graffiti artist known as Uhuru B.
After the mentorship ended, we were so motivated that it led us to form a group and explore graffiti as an art form.
Do you think graffiti as an art form is getting enough recognition from Kenyans?
Yes, it is. People are appreciating it more. Even in high-end residential areas, you'll find that some homes have dedicated a part of their backyard wall for graffiti.
I've been commissioned several times by individuals to create artwork in their business spaces and homes.
How do you settle on the kind of graffiti someone wants?
The creative process involves both the client and me, as it needs to be something they will like. They present me with the idea, and I create sketches to give them a visual of how it will look.
How has the experience been working with other artists in the crew?
It has been a good experience working with them. Everyone has different skills, their strong areas, so I try as much as possible to learn and gain something from them, as it has also made me grow in areas I’m weak at.
Are there any upcoming artists you’re mentoring?
I am mentoring three young artists. Whenever I have a project, I involve them in the process. I also make it flexible for them by avoiding a strict schedule, so if they have other commitments, they can proceed without any interference from me.
What other projects are you working on at the moment?
There is a series on marine wildlife that I am planning to continue and complete. I hope to exhibit by early next year.
What role do you think exhibitions play in an artist’s journey?
Exhibitions are crucial for artists to showcase and sell their work. They also provide an opportunity for people to connect with both the artist and their creations and, most importantly, to learn more about the artist’s identity and vision.
What are some of the challenges artists face?
One of the biggest challenges is making a living at the beginning of an artist's career. Often, artists have to take on other side jobs to earn money before they can fully rely on their art for income.
Another challenge is when galleries reject your work because they don’t know you, making it difficult to collaborate with them. This can be discouraging because historically, galleries have been the primary avenue for the public to engage with artists and their work.
How do you handle criticism?
Everyone has a different perspective, and
criticism is inevitable. Not everyone will love your work, and I see their
comments as their own interpretation or way of thinking. My focus is simply to
continue painting and let people experience my work.
