one has said it, and it is important, you just can’ t sit and wait for someone to materialize. And I think that is the direction things are heading, there are going to be more artists initiatives towards highlighting the different thoughts, ideas, trying to fill out the different unchartered regions of our practice.
Q: does this weigh you down, or it’ s a case of slow painful growth for the art scene. A: Probably I won’ t be the rock star artist, but if I fight some of the battles that I am able to fight now, they won’ t have to be fought in the future- so someone else will deal with another issue. It’ s interesting to be able to do this, to play the puppet master, and be the puppet at the same time, that you can actually switch these roles. The problem is that it comes at a cost; your time, your relationship with people because then you have to do things that might not sit well with people, when you fail it becomes a reflection on you. I usually say that the one place that I know, that I am most aware of is my studio space, but when I step out of it I am in wild water, in the jungle in the sense that it is all new, all stimuli so that when I get back into the studio it is the only place I can manipulate things into units I can absorb, it is the one place where I can take what I have encountered out there-keep what I have is necessary and trash what isn’ t.
Q: it is a space of reflection A: but it comes at a cost, it takes time, reflects on you, it kind of also strains relationships, but the upside is that it also opens new frontier and new relationships. Many people are doing these things, and I hope many more keep doing these things so that either some of us become so good at it that some other artist would have time to fully be themselves and know that there is that connection with this other space instead of having to be the one connecting this space.
Q: how is life as an old boy? A: it is has to be progressive, you know, it’ s cumulative in nature. It is a tragedy when one gets stuck in one place- there is a certain kind of helplessness. The transition is great, am having a great time at the studio. Prior to making the move I really second guessed myself because it’ s nice being in the collective setting, when you are not having fireworks in the studio, you can just step out and have a conversation and lie in the grass. I miss the space, but I think am having so much fun at the moment that I couldn’ t have it any other way. I can’ t speak for the future though, but I hope the fun doesn’ t run out, and if it does I will see what to do. With regard to the structures, what I am working with is actually structures that I have developed within this context, so I think it is important for artists section3: Conceptual to actually develop those networks, contacts,
connections, keep relationships with institutions like Kuona, I don’ t entirely disengage. But I realize that it’ s the same way I was communicating with people at Kuona is the same way I am doing out there, it’ s only that I have to put more effort.
Q: and of course your move creates a chance for younger artist to get a chance A: That’ s the thing! I realized that I have been a beneficiary of this structure of so long, but then the problem is that if I don’ t make the effort to propel myself to another stage, then I clog the system, and I think it is important for you to realize that this is not the end, this is just a transition stage, you are developing your relationships that will push you to the next level. Q: Geographically, your move opens up the Nairobi art scene geographically.
A: It does, my studio has added something to the Nairobi art scene, a geographic diversity, and the next person and the next person, and it allows the younger guys to have a studio where they can pay affordable rates.
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