Ardhi Gallery is committed to supporting artists, especially those who are emerging and rising. This exhibition is important to the gallery as it showcases how collectors and art lovers contribute to an artist’s career, helping them distinguish themselves.
“I’ve always been fascinated by bees and their crucial role in maintaining a healthy environment”. Similarly, collectors play a vital role in an artist’s environment, by purchasing, nurturing and guiding an artist’s brand, it gives the artist a yardstick for success and a purpose to continue producing works and making a living therefore enriching their ecosystem.
Parallel Four, Ole Sangale Link Road, off Mbagathi Road, Nairobi Kenya ardhigalleryke@gmail.com
+254 (0) 769 861 050
ardhigallery.org
Opening Hours
Tuesday-Saturday 10:00 am - 8:00 pm Sunday 12:00 - 8:00 pm Holidays or after Hours by appointment
Introduction
Ardhi Gallery 3rd Aug—5th Sept 2024
OPEN RECEPTION
SATURDAY | 3RD AUG | 3PM—6PM
“Reflections of Resilience” invites viewers to explore the multifaceted nature of human strength and perseverance through a diverse collection of artworks. This exhibition serves as a tribute to the indomitable spirit found in the face of adversity.
As you journey through the exhibition, consider how these reflections resonate with your own experiences and perceptions of resilience as this is not just a display of artistic talent but a profound dialogue on the enduring human capacity to rise above and find beauty in the process of overcoming.
Acknowledgments
Wilson Wachira wishes to acknowledge the following:
Aaron Karugu - For his unwavering support during the tough period | Sharon Kemboi - For encouraging and supporting this journey of collection | Trisha Nyambura - For whom the collection truly is | Scadden Orina - For being a co-conspirator and sounding board | Mary Wanjiru - For tirelessly making sure that the pieces were handled with care | Winny Jemoi - For tirelessly putting together a story with the pieces | Christine Oguna - For her generosity in allowing us to share her space | All the artists for allowing me to own a part of them.
by Wilson Wachira
Artists
Onesmus Okamar
Born and raised in Teso-North, Busia County, Okamar Onesmus is now a multi-award-winning visual artist majoring in Painting and Sculpture.
His dream of becoming an artist was groomed by his uncle Peter Elungat who supplied him with art materials, books and mentorship. Balancing between school academic work and art he started his professional journey in 2012 when he first visited different art centers and galleries to gather more knowledge. He later on, met with Maina Boniface who introduced him to the art scene and introduced his work to the buyers. By 2014 he won his first Mask Prize award as the best in the painting category, later on in 2016 he won another Mask Prize award.
In his work, he portrays issues that deal with self-realization, mental health, love, coexistence and unity amongst other themes that concerns us and those around us in the communities. He has participated in several art workshops, residencies and numerous exhibitions both locally and internationally including at the Saatchi gallery and in Washington DC. Onesmus’ work is mainly collected by corporate organizations, one of them being I & M Bank and private collectors both locally and internationally in The U.S.A, UK, Spain, Asia, and Australia.
Anthony Mega
“As a kid I always had a piece of paper and a pen and was scribbling and doodling for fun. I became fascinated by this as, most of the time, I had no idea what this scribbling would lead to. On occasions, I was even surprised to see what ‘artwork’ I had created with my scribbling and doodling. This became eventually my passion, as it was something I had not seen before”
After finishing Secondary School he enrolled in the Buru Buru Institute of Fine Arts and graduated with a Diploma in Fine Arts in 2015. In 2016 he was awarded the first price in the Manjano Art Competition in Nairobi for upcoming artists.
Antony’s artworks are meticulously and painstakingly executed and have gradually developed from the ‘scribbling and doodling’ culture into mature and fascinating artworks. He draws delicate lines, ink on white paper and his exceptional pen brings the viewer to notice incredible details of a mystic almost surreal nature.
Solomon Luvai
Solomon Luvai is a Kenyan artist based in Nairobi who, for almost a decade, has made public work that addresses social issues such as mental health, contemporary life, and music. Self-taught artist Solomon was trained as a painter, but to reach a broader public, he has utilized forms such as charcoal, junk paper, mixed media, and chalk. He often collaborates with specific persons to produce relatable characters and issue-specific projects that are relevant to a unique set of conditions. Solomons’ work has been exhibited and collected throughout Kenya, featured at institutions such as Goethe Institute, Dust Depo arts studio, Mckinsey and Co., and the Nairobi National Museum, among others.
Njenga Ngũgĩ
Njenga is a visual artist, born and based in Nairobi. His work is an exploration of the complex interplay between social constructs and the individual psyche. Through an array of mediums Njenga navigates the intricacies of mental health, growth, identity and one’s reality in the space one occupies. Selected exhibitions:
Kenya art fair 2017 | Nairobi National Museum Affordable art show 2017 | Christmas pop up Kito gallery 2018 | Phases 1, Kito gallery 2019 | A bad idea exhibition, (group show) nafasi art gallery 2019 | Shadows, (group show) Brushtu studio 2022 | Art mtaani, Mckinsey and co. offices 2022.
Antony Mege Ng’an’ga was born in 1993. He was brought up in Nairobi.
Introducing Ronny Enos
Ronny, as we all fondly call him, is a gifted artist with the zeal of a true visionary. I first came across his work on social media and was truly in awe. I knew I had to meet him. As fate would have it, I reached out, and he graciously responded, providing guidance on some pieces I needed for a space. He executed them so well that I had to have more. This became our cherished tradition –every Tuesday morning, we would meet and discuss art while he brought in more work that I kept collecting. As you will soon realize, Ronny’s work takes you on a tactile journey, allowing you to immerse yourself in it as if you were there as he draws. The bold strokes and the vivid subject matter are nothing short of mesmerizing. He takes you on a journey and leaves you yearning for more. Even in grayscale, his work is as vivid as it can get. An immersion of truth, we can all relate to – sadness, joy, tranquility, confusion, trust, denial, and a long list of emotions his work is able to evoke. We hope you enjoy your experience of Ronny’s work as much as we did, and that you will allow yourselves to feel the rewriting of your own emotions as you engage with his captivating creations.
Wilson Wachira Patron, Art Collector
Ronny’s Story
Iwas born on December 17th, 2003, at the Homabay District Hospital. My father, who worked as a clinical officer there, was nearly two decades older than my mother, who had just graduated from high school. She became his second wife after his first had left him. Sadly, my father’s battle with alcoholism eventually cost him his job, casting a long shadow over our family life.
My mother, seeking a better future, took my elder sister and me to live with our grandparents, while she moved to Nairobi in pursuit of brighter prospects. In the city, she stayed with her uncle for a time, taking on the role of a housewife before marrying my stepfather in 2009. This union brought us to Nairobi, promising a better education and a fresh start.
In 2011, I began my primary education at Olympic Primary School in Kibera. The transition from my rural upbringing, where I primarily spoke my mother tongue, to the city was jarring. Struggling with Swahili and self-conscious about my accent, I found it difficult to connect with my peers. To cope, I often lost myself in creative pursuits. Clay became my medium of choice, and I frequently sketched and drew in the margins of my schoolbooks to stay awake and engaged. My teachers frequently caught me doodling instead of paying attention, leading to a few red-faced moments.
Yet, amid these struggles, I discovered a passion for science classes, particularly the art of creating diagrammatic illustrations. My classmates often sought my help with their drawing assignments, offering snacks
as payment, though I had to stop when it became a distraction. By the time I reached high school, my artistic abilities had flourished, allowing me to create realistic human portraits. Despite my progress, I hesitated to share my work, doubting its quality compared to others. During a long holiday in my third year of high school, I visited an art studio my mother had mentioned, where I met artists Joseph and John. They pushed me to fully embrace my identity as an artist. This passion sometimes conflicted with my academic responsibilities, yet it also provided me with a new lens through which to view the world.
Upon completing high school in 2022, I immersed myself in art, supporting myself through sign-writing jobs in Kibera. I joined Art360 Kibera, a small artist collective founded by Atieno Faith. Despite the cramped quarters and limited resources, I learned valuable painting and color mixing techniques from my fellow artists. Seeking greater opportunities, I moved to Kuona Trust, an artist collective where I interned with sculptor Kevin Oduor. This experience broadened my horizons and connected me with a vibrant community of artists.
After my internship with Kevin ended, I returned to Kibera, continuing to create art while exploring other avenues for income. My work eventually caught the eye of Dr. Wachira, who discovered me on Instagram. His mentorship has been invaluable, providing me with the materials I need and encouraging me to experiment with new techniques. His support has been a guiding light on my artistic journey.
Onesmus Okamar
Empowerment
185cm * 155cm | Oil on Canvas
$3,555 - $4,100
This vibrant and dynamic piece depicts a diverse community coming together, each individual contributing their unique perspectives and ideas. At the center, a glowing sphere represents the collective wisdom and shared vision for a better future.
Surrounding the central sphere, a tapestry of intertwined figures gestures animatedly, sharing thoughts, offering advice, and working collaboratively. The composition is filled with movement and energy, conveying the power of human connection and the transformative potential of communal problem-solving.
The Guider
185cm * 155cm | Oil on Canvas
$3,555
This intimate scene captures a Guider seated comfortably in their own living space, their hair being gently styled by a caring elderly companion. The warm, familial setting creates a sense of trust and openness, as the two figures engage in a meaningful dialogue.
The Guider’s eyes are fixed intently on the elderly individual, their expression one of keen interest and receptiveness. The elderly person’s weathered hands move with practiced grace, weaving the Guider’s hair, while their face radiates a lifetime of accumulated wisdom.
The domestic environment, with its cozy furnishings and personal accoutrements, lends a sense of intimacy to the exchange. It is a private moment, where the Guider has welcomed the elder into their home, creating a space for the passing down of invaluable knowledge and guidance.
Reaching out
185cm * 155cm | Oil on Canvas
$3,555
This stunning artwork bursts with a vibrant energy, capturing the powerful connection between two women as they reach out to one another in a gesture of unwavering support.
The canvas is awash in a riot of color, with bold brushstrokes of crimson, saffron, and cobalt blue swirling around the central figures. The women’s bodies are intertwined, their hands clasped tightly together, creating a visual metaphor for the strength they draw from one another.
Their faces are uplifted, expressions radiant with determination and compassion. The intensity of their gaze speaks to the depth of their shared understanding, as they navigate the challenges that have brought them to this moment of profound connection.
Confiding
185cm * 155cm | Oil on Canvas
$3,555
This intimate portrait captures a moment of profound vulnerability and connection between two women, as they lean in towards one another, their faces etched with concern and a shared determination to find solutions.
In the center of the frame, the women’s hands are clasped together, a physical manifestation of the emotional bond they have forged. Their gazes are locked, conveying a deep level of trust and understanding that transcends words.
Recollection
185cm * 155cm | Oil on Canvas
$3,081
“This evocative painting captures a woman in a contemplative moment, her gaze directed inward as she reflects on a pivotal experience in her life. Dressed in a polished, elegant ensemble, she projects a sense of dignity and self-assurance, a stark contrast to the narrative hinted at in the background.
In the shadowy periphery, the viewer can discern the remnants of a fall - a crumpled clothing, a scuffed knee, a look of anguish frozen in time. Yet, the woman’s demeanor in the present moment exudes a quiet strength, as if she has emerged from a profound struggle, her spirit undimmed.
Her fingers rest pensively against her chin, a gesture that conveys both introspection and a quiet determination. The subdued, earthy tones surrounding her create a sense of stillness, allowing the viewer to bear witness to this woman’s internal journey of reclamation and resilience.”
Peace From Broken Pieces
185cm * 155cm | Oil on Canvas
$3,081
This hauntingly beautiful painting captures a woman in a state of profound serenity, her eyes gently closed as she rests amidst a sea of shattered glass and scattered debris. The contrast between the chaos surrounding her and the tranquility of her expression is both jarring and deeply moving.
The woman’s face is bathed in a soft, ethereal light, lending an almost otherworldly quality to her features. Her body is nestled amongst the broken fragments, yet she appears completely at peace, her limbs relaxed and her breathing steady. The shards of glass that glitter around her like shimmering diamonds do not seem to disturb her slumber, as if she has found a sanctuary within the very chaos that envelops her.
Boniface Maina
Born in 1987 in Nanyuki Town, Kenya, Boniface Maina has been an artist for almost a decade. He is a painter who describes his style as surreal and figurative. He is the co- founder of BrushTu Art Studio in Buru Buru. Maina has exhibited his work widely in Nairobi, including at the Nairobi National Musuem. His work has also been exhibited in Denmark.
Charcoal Harvest
90cm * 80cm | Acylic on Canvas
$ 5,333 - $ 8,295
In this haunting and thought-provoking painting, the artist presents a startling vision of humanity’s symbiotic relationship with nature. At the center of the canvas stands a humanoid figure, its body composed of gnarled, root-like appendages that seemingly emerge from the very soil itself. Balanced precariously atop this wooden, tree-like being is a sack of freshly harvested charcoal, a tangible representation of the burden we impose upon the natural world in our relentless pursuit of short-term convenience.
The figure’s face is obscured, rendering it anonymous and universal, a symbolic stand-in for the countless individuals caught in the cycle of exploitation and environmental degradation. Its posture, though weighed down by the heavy sack, conveys a sense of resignation and fatalism, as if the figure has resigned itself to this role as a living conduit between the forest and the demands of human society.”
In this captivating portrait, the artist invites the viewer to peer into the depths of a woman’s gaze, revealing the profound complexity and vulnerability of the human spirit. The subject’s face dominates the canvas, her features rendered with striking realism and clarity. Her eyes, the “windows to the soul” as the title suggests, are the focal point of the painting, drawing the viewer in with their intensity and introspective quality.
The woman’s expression is pensive, her brow slightly furrowed, as if she is grappling with an inner struggle or contemplating the complexities of her own existence. There is a raw honesty and openness in her gaze, a willingness to be seen and understood that is both arresting and disarming.
Peter Elungat
Peter Elungat is a world-renowned Kenyan artist born in 1978. His works are extremely valued and sought after in the art and business world, acquired by the Kempinsky, Australian museums, the former Kenyan first family, high-profile organizations, and individuals his pieces continue to gain prominence and value.
Windows to the Soul 90cm * 120 cm | Oil on Canvas
$7,110 - $9,480
Solomon Luvai
In this arresting and emotionally charged portrait, the artist presents a stark contrast between the outward appearance and the inner turmoil of a masculine figure. The central focus is a meticulously rendered mask, its features frozen in a broad, artificial smile that belies the true depth of emotion hidden behind it. The man’s face, partially obscured by the mask, betrays a haunting vulnerability, the lines of his brow and the tension in his jaw hinting at a profound pain and anguish that he struggles to conceal. The mask, a barrier between the public persona and the private self, serves as a poignant metaphor for the ways in which we often feel compelled to present a false, unblemished facade to the world, even as we grapple with the complex and often overwhelming realities of our inner lives. Through this powerful work, the artist invites the viewer to consider the cost of this masquerade, challenging us to confront the emotional toll of constantly maintaining a carefully curated image in the face of personal suffering and anguish.
The Mask
110cm * 140cm | Charcoal on Canvas
$3,555 - $4,740
The Stare
110cm * 140cm | Charcoal on Canvas
$3,555 - $4,740
The subject, a young woman, occupies the center of the frame, her gaze fixed intently on the viewer. Her expression is a study in contrasts, reflecting a simultaneous state of intrigue and boredom. The slight furrow of her brow and the downward tilt of her lips suggest a hint of disinterest or ennui, while the intensity of her eyes conveys a deeper, more invested curiosity.
Feel The Music
110cm * 140cm | Charcoal on Canvas
$ 2,370
This captures the pure, unbridled joy of an elderly musician as he immerses himself in the soulful melodies of the saxophone. The central figure leans into the instrument, his face alight with a radiant smile and his eyes closed in ecstasy, his fingers dancing effortlessly across the keys. Bathed in a warm, golden hue that heightens the sense of vibrancy and optimism, the man’s relaxed yet purposeful posture conveys a fluidity and grace that belies his advanced years, while the saxophone itself becomes an extension of his very being. This evocative portrait invites the viewer to share in the elderly musician’s palpable contentment and fulfillment, serving as a poignant reminder of the transformative power of music to transcend age and the constraints of the physical world.
Njenga Ngũgĩ
In this evocative triptych, the artist uses the interplay of hands and faces to explore the human experience of emotional concealment and vulnerability. Collectively, the “Shadows” series invites the viewer to consider the complex and often paradoxical ways in which we navigate the tension between our public personas and our private emotional landscapes. The complete obscuring of the faces in these portraits serves to heighten the sense of emotional isolation and the universal human desire to conceal our most authentic selves from the scrutiny of others.
Auctioned as a set of 3: $3,555 - $4,740
Shadows 1 110cm * 140cm | Charcoal on paper
Shadows 2
110cm * 140cm | Charcoal on paper
Shadows 3
110cm * 140cm | Charcoal on paper
Ronny Enos
Resilience 1
30cm * 42cm | Ink on paper
$1,067
This striking drawing, titled “Resilience 1,” presents a powerful visual narrative about the enduring spirit of a community in the face of adversity. The central focus of the composition is a dilapidated, mabati (corrugated metal sheet) structure that has been repeatedly patched and repaired, a testament to the resilience and resourcefulness of its inhabitants.
The structure itself is a mosaic of mismatched materials and makeshift repairs, with sections of rusted, weathered metal sheets interspersed with newer, contrasting patches. The effect is a visually striking and deeply symbolic representation of the struggles and triumphs that have shaped this humble abode.
Despite the building’s battered and weathered appearance, the artist has imbued the scene with a sense of dignity and purpose. The layers of repairs and the patchwork of materials suggest a story of resilience, of a community that refuses to be defeated by the challenges it faces.
Corner ya Chipo
40cm * 60cm | Ink on paper
$1,659
This evocative drawing captures the quiet, early-morning serenity of a humble fries (or “chipo”) vendor’s setup, before the arrival of the bustling crowds that will soon enliven the scene.
The central focus of the composition is a simple, makeshift shanty structure, its weathered tin roof and ramshackle wooden walls suggesting a precarious yet essential part of the local urban landscape. Beneath the shelter, the frying station stands ready, the charcoal grill and well-worn wok awaiting the arrival of fresh potatoes to be transformed into the community’s beloved “chipo” delicacy.
Base ya Mzae
40cm * 60cm | Ink on paper
$1,659
This evocative drawing captures the cozy, intimate atmosphere of a “Baze ya Mzae” - a gathering place where locals come to enjoy “nyama choma” (roast meat) and watch football matches together - but with a distinct twist. Rather than an open-air setting, the artist has depicted a neatly constructed, corrugated sheet structure that serves as the backdrop for this communal experience.
Mtaa 1
30cm * 42cm | Ink on paper
$1,067
This evocative drawing, titled “Mtaa 1,” offers a visually striking and deeply emotive portrayal of a vibrant community nestled within the confines of a sprawling shanty town. The artist’s masterful use of color, composition, and attention to detail creates a profound sense of unity and harmony, even within the seemingly chaotic and challenging environment.
At the heart of the drawing lies a densely packed cluster of makeshift dwellings, their corrugated metal sheets, wooden planks, and salvaged materials forming a patchwork of architectural elements. Yet, rather than presenting a scene of disarray, the artist has skillfully woven these disparate components into a cohesive and visually captivating whole.
Resilience 2
30cm * 42cm | Ink on paper
$1,067
“Resilience 2,” offers a powerful visual narrative about the indomitable spirit of a community in the face of persistent challenges. Where the first drawing presented a single, battered structure, this work expands the scope to reveal a tightly interwoven network of makeshift dwellings, each bearing the scars of weathering and repeated repair.
The central focus of the composition is a dense cluster of corrugated metal structures, their surfaces a patchwork of mismatched materials and makeshift repairs. Yet, rather than appearing disorderly or haphazard, the artist has masterfully woven these disparate elements into a cohesive and visually striking whole, evoking a profound sense of interconnectedness and shared purpose.
2
30cm * 42cm | Ink on paper
“Mtaa 2,” offers a captivating visual narrative that delves deeper into the vibrant and resilient community nestled within the sprawling shanty town. The artist’s masterful use of color, composition, and attention to detail once again creates a profound sense of unity and harmony, even as the scale and complexity of the scene expands. Whereas “Mtaa 1” focused on a more intimate cluster of dwellings, “Mtaa 2” presents a sweeping panorama that encompasses a broader expanse of the informal settlement. The viewer is drawn into a dense tapestry of makeshift structures, each one a unique patchwork of corrugated metal sheets, wooden planks, and salvaged materials. Despite the visual complexity of the scene, the artist has skillfully stitched together these disparate architectural elements, creating a cohesive and visually captivating whole. The interlocking rooflines, the shared walls, and the subtle visual cues that link the various structures together all contribute to a profound sense of interconnectedness and shared purpose.
Mtaa
$1,185
This poignant drawing, titled “Chini ya Daraja,” offers a powerful glimpse into the hidden world that thrives beneath the shadows of a dilapidated bridge. The artist’s evocative depiction of this unconventional gathering place invites the viewer to explore the rich tapestry of human interactions and the generative potential that can emerge from even the most unexpected of environments.
At the heart of the drawing, the weathered and crumbling bridge structure dominates the composition, its sturdy concrete pillars and worn, rusted beams casting long shadows over the space below. Yet, rather than presenting a scene of desolation, the artist has populated this underpass with a collection of individuals, each one engaged in their own unique pursuits.
Chini ya Daraja
30cm * 42cm | Ink on paper
$1,185
30cm
$1,185
“Kwa post ya stima” and how it is used as a landmark and reference point for giving directions within the informal settlement. This provides helpful insight into the localized language and way-finding practices that are integral to the community.
In the context of this artistic rendering, the inclusion of a power pole or “post ya stima” as a recognizable landmark would likely serve an important function for the residents. It represents a shared point of reference that aids in navigating the densely packed and organically evolved layout of the informal settlement.
The power pole, with its wires and infrastructure, becomes a visual anchor that helps orient individuals and serves as a shorthand descriptor for directing others to a specific location or area. This practice of using distinctive physical features as directional cues speaks to the ingenuity and adaptability of the community, as they leverage the resources and environment around them to facilitate daily movement and interaction.
$1,185
“Kwa tank ya maji” and how it is used as a landmark and reference point when giving directions within the informal settlement. This insight into the localized language and spatial awareness of the community is really helpful for understanding the cultural and experiential context of the artwork.
The inclusion of a prominent water tank as a recognizable landmark in the artistic rendering immediately evokes a sense of the shared infrastructure and resources that are central to the daily lives of the residents. The water tank, with its towering presence, becomes a visual anchor that helps orient individuals and serves as a shorthand descriptor for directing others to a specific location or area.
Beyond just a directional cue, the “Kwa tank ya maji” also suggests the surrounding spaces where people gather and socialize. The water tank, as a vital shared resource, likely becomes a gathering point for the community - a place where people congregate, exchange information, and forge social connections. The artist’s acknowledgment of this nuanced spatial dynamic adds an extra layer of authenticity and depth to the representation of the informal settlement.
Kwa Post ya Stima
* 42cm | Ink on paper
Kwa Tank ya Maji
30cm * 42cm | Ink on paper
Mtaa 3
30cm * 42cm | Ink on paper
$1,185
In the monochromatic world of “Mtaa 3,” the artist presents a captivating study of the resilience and adaptability of the informal settlement’s community, with a particular focus on the dilapidated vehicles that have become an integral part of this dynamic landscape. The artist’s masterful use of composition and attention to detail creates a powerful visual narrative, one that invites the viewer to consider the intimate relationship between these discarded vehicles and the community that has claimed them as their own.
Some of the cars have been transformed into makeshift shelters, their interiors providing refuge and a sense of privacy amidst the densely packed dwellings. Others have been scavenged for parts, their disassembled components integrated into the construction and maintenance of the surrounding structures. The artist’s careful rendering of these interactions between the built environment and the repurposed vehicles imbues the scene with a palpable sense of ingenuity and adaptation.
Journey to the Market
40cm * 60cm | Ink on paper
$1,541
The scene unfolds against a muted, monochromatic backdrop, lending a sense of timelessness and universality to the subject matter. The viewer is immediately drawn to the central figures, their bodies bent under the weight of their burdens as they steadfastly navigate the uneven terrain.
The carts they pull, laden with an array of personal belongings and wares, become a visual metaphor for the resilience and determination of the community. Each item, carefully balanced and secured, represents the economic and social ties that bind these individuals to the rhythms of the market and the larger ecosystem of the informal settlement.
The artist’s skillful use of chiaroscuro creates a play of light and shadow, accentuating the physical exertion and hardship etched into the faces and bodies of the figures. Yet, despite the evident strain, there is a sense of purpose and shared experience that radiates from the scene, a testament to the community’s unwavering spirit.
Kwa Mababi
40cm * 60cm | Ink on paper
$1,659
“Kwa mababi” and how it signifies a wealthier or more established area within the informal settlement, as indicated by the presence of cars and more permanent structures.
This nuanced understanding of the local lexicon and the spatial dynamics of the community is incredibly valuable for interpreting the artwork and gaining a deeper appreciation for the complex realities of life in the informal settlement.
The concept of “Kwa mababi,” or the “rich zone,” immediately conjures images of a more affluent and developed area within the larger informal settlement. The presence of cars and more substantial, permanent structures serves as a visual marker of economic stability and status, distinguishing this zone from the more humble dwellings and livelihoods depicted elsewhere in the scene.
Base ya Hustle 40cm * 60cm | Ink on paper
$1,541
“Base ya hustle” and how it refers to the city center or central business district (CBD) of Nairobi, where people come to work and make a living. This insight into the local lexicon and the artist’s interpretation of the urban landscape is incredibly valuable for understanding the depth and nuance of the artwork.
By using the term “Base ya hustle,” the artist is immediately evoking the vibrancy, energy, and economic importance of the central business district within the informal settlement. This area, where people congregate to engage in various income-generating activities, becomes a hub of life and livelihood for the community.
However, the artist’s depiction of this “Base ya hustle” challenges the typical frenetic and overwhelming portrayal of urban centers in the developing world. Instead of showcasing the chaos and crowding often associated with such settings, the artist has chosen to present a more serene and contemplative vision. This “calm” approach allows the viewer to step back and appreciate the “hidden glory” of the city - the intricacies, rhythms, and even the beauty that may often be overlooked amidst the perceived hustle and bustle.
40cm * 60cm | Ink on paper
$1,778
By using the phrase “Forgotten glory,” the artist is inviting the viewer to contemplate the layers of history and lived experiences embedded within this crumbling structure. The home, with its distinctive icostal architecture, was once a source of pride and status, a representation of the aspirations and achievements of its inhabitants. However, the passage of time, the pressures of economic and social change, and perhaps even the harsh realities of informal settlement living have all taken their toll, leaving the structure in a state of disrepair. Forgotten Glory
The term “Forgotten glory” immediately evokes a sense of longing and melancholy, as it suggests a once-vibrant and beautiful structure that has now been left to decay and wither over time. This powerful imagery conveys a complex narrative about the ebb and flow of urban development, the impermanence of material prosperity, and the resilience of the human spirit in the face of adversity.
$1,541
By identifying the “Msikiti wa Pemba” as the “first mosque ever in the county,” the artist is immediately establishing the profound importance and legacy of this religious structure within the local community. The mosque, with its distinctive architectural features and prominent placement within the scene, becomes a symbolic representation of the cultural and spiritual heritage of the region.
Msikiti wa Pemba 40cm * 60cm | Ink on paper
Mandhari 1
40cm * 60cm | Ink on paper
$1,541
This artwork depicts a serene and tranquil coastal area, with a focus on a duplex residential structure. The scene conveys a sense of relative opulence, with the artist drawing attention to the stylish and wellmaintained balcony of the dwelling.
The description highlights the “chill balcony” of the house, which is described as being “old but stylish.” This detail suggests a layering of histories and design sensibilities within the architecture, hinting at the evolution and resilience of the community’s built environment.
The lack of any visible cars in this scene reinforces the overall atmosphere of calm and relaxation, inviting the viewer to imagine the daily rhythms and experiences of the residents within this particular residential setting.
Mandhari 2
40cm * 60cm | Ink on paper
$1,541
In contrast to the first scene, this artwork centers on the presence of parked cars outside the duplex houses, suggesting a greater degree of material prosperity and affluence within the depicted neighborhood. The inclusion of the cars, as you noted, serves to emphasize the “opulence” present in this coastal area, while still maintaining a sense of peace and tranquility. This juxtaposition of material markers of wealth and the serene natural surroundings underscores the multifaceted nature of the informal settlement, where diverse socioeconomic realities coexist.
Gazing into the Horizon 40cm * 60cm | Ink on paper
$1,541
By situating the young figure on a rooftop, the artist is inviting the viewer to share in this elevated vantage point, allowing us to take in the scope of the coastal town below. This elevated viewpoint not only provides a panoramic vista, but also symbolically represents the act of “gazing into the horizon,” hinting at the individual’s inner reflections and their connection to the larger world beyond.
The description of the coastal town as “leafy” evokes a sense of lush, verdant surroundings, further enhancing the tranquil and serene atmosphere of the scene. This natural environment provides a stark contrast to the human activity taking place below, where individuals are engaged in a game of soccer and cars are visible on the streets.
The inclusion of these everyday scenes of leisure and transportation introduces a layer of dynamism and vibrancy to the overall composition. By juxtaposing the contemplative stillness of the young figure with the active movements and interactions taking place in the town, the artist is creating a captivating interplay between the internal and external realms of experience.
Kichochoro
40cm * 60cm | Ink on paper
$1,541
“Kichochoro” offers a captivating glimpse into the bustling heart of a coastal town, with an alleyway serving as the focal point that leads the viewer’s gaze towards the striking silhouette of the Msikiti was Pemba in the distance. The scene is alive with the dynamic energy of the community, as the narrow passageway teems with activity –people navigating the space, shops and stalls lining the sides, and the ever-present hum of daily life. This artwork effectively conveys the vibrant and multifaceted nature of the town, where the sacred architecture of the Msikiti serves as a visual anchor, a touchstone amidst the flurry of movement and commerce that characterizes this coastal setting.
The Water Run
40cm * 60cm | Ink on paper
$1,541
The artwork “The Water Run” captures the daily reality for young girls living in arid, inland areas, where access to water is a constant challenge. Instead of a coastal setting, the scene unfolds against the backdrop of a parched landscape, where the river or well may be situated at a considerable distance from the homes and settlements. Despite the harsh environmental conditions, these young girls are dutifully engaged in the task of retrieving water for their households. With their mtungis, or traditional jerrycans, in hand, they make the arduous journey to the water source, their faces etched with determination and a sense of responsibility.
Kuni za Uhai
40cm * 60cm | Ink on paper
$1,541
The artwork “Kuni za Uhai” (Firewood of Life) offers a poignant and complex tableau that encapsulates the daily struggles of communities living in arid, resource-scarce regions. The title itself, “Firewood of Life,” speaks to the vital importance of this basic resource in sustaining life in these harsh environments. The central focus of the artwork is the group of women, each bearing a heavy load of firewood upon their heads. Their faces are etched with the strain of the physical labor, yet their expressions also convey a sense of resilience and determination. These women are the lifeblood of their communities, responsible for gathering the firewood that enables the preparation of meals and the maintenance of household activities. Juxtaposed against this scene of industry is a haunting detail - the carcass of a cow lying on the parched ground. This grim presence serves as a stark reminder of the hunger and despair that often plague arid regions, where the scarcity of resources can lead to the loss of precious livestock - a devastating blow to the livelihoods and sustenance of these communities.
Kibarua
40cm * 60cm | Ink on paper
$1,541
The artwork titled “Kibarua,” which loosely translates to “casual labor,” presents a poignant snapshot of the daily lives of women in a resource-constrained, arid region. The scene depicts a group of women returning home after a long day of work, each carrying the tools and equipment that have been integral to their labors. One woman carries a cooking pan, a crucial implement for the preparation of meals that sustains her family. Another woman bears a shovel, a testament to the physical demands of the work she has undertaken, likely in the fields or construction sites. The third woman, her head bowed under the weight of a jerrycan of water, symbolizes the relentless task of procuring this life-sustaining resource in an environment where access is limited. The women’s expressions convey a mixture of fatigue and resilience, reflecting the challenging nature of their work and the determination that drives them to fulfill their responsibilities. Their bodies, bent under the burden of their burdens, suggest the cumulative physical toll of these daily labors.
The Market Run
40cm * 60cm | Ink on paper
$1,541
In this vivid snapshot, the women navigate the dusty paths, their bodies swaying gently under the weight of these essential provisions. The jerrycans, a ubiquitous sight in many arid regions, symbolize the women’s vital role in ensuring their families have access to the cooking oils that are so crucial for preparing meals in resource-constrained environments.
The women’s faces, etched with the strain of their labors, convey a sense of purpose and resilience. Though the journey may be arduous, they carry on with a steadfast determination, understanding that the oil they have procured will be the lifeblood of their household’s culinary needs.
Upendo wa Mama
40cm * 60cm | Ink on paper
$1,541
The artwork “Upendo wa Mama,” or “A Mother’s Love,” presents a heartbreaking yet poignant portrait of a mother’s unwavering devotion in the face of adversity. In this scene, a thin, weary mother sits with her children, her expression a bittersweet blend of love and despair. The children, their faces etched with hunger, gaze up at their mother, who encourages them to play, a desperate attempt to distract them from the plight they face. The mother’s own body betrays the ravages of scarcity, her ribs visible beneath her skin, a testament to the sacrifices she has made to ensure her children’s survival.
Yet, despite the overwhelming hardship, the mother’s eyes are filled with a fierce, protective love. She knows that her children’s well-being is her primary concern, and in this moment, she summons every ounce of her strength to shield them from the realities of their dire circumstances.
Ndua Jangwani
40cm * 60cm | Ink on paper
$1,541
The artwork “Ndua Jangwani” depicts a young man squatting on a rock while fishing in the arid landscape.
The young man’s posture, crouched low on a weathered rock, suggests a level of comfort and familiarity with the harsh environment around him. This stance, rather than standing upright, allows him to conserve energy and maintain balance as he casts his fishing line into the shallow, sun-baked riverbed.
The choice to squat, rather than sit or stand, speaks to the adaptability and resourcefulness of the young man. In a landscape where resources are scarce, he has learned to maximize his efficiency and minimize unnecessary movements, drawing on his intimate knowledge of the terrain to find the most advantageous positions from which to engage in his fishing activities.
The Fragility of Life
40cm * 60cm | Ink on paper
$1,541
Survival 1
30cm * 42cm | Ink on paper
$948
Survival 2
30cm * 42cm | Ink on paper
$948
Ujamaa 40cm * 60cm | Ink on paper
$2,370 - $2,844
The artwork “Ujamaa” presents a powerful depiction of unity, knowledge-sharing, and the collective pursuit of survival in the face of challenging circumstances.
At the center of the composition, a group of men can be seen engaged in the practice of carpentry, with one individual instructing the others on the intricacies of the craft. The title “Ujamaa,” which loosely translates to “familyhood” or “communal living” in Swahili, speaks to the sense of community and interdependence that is palpable in the scene.
Rather than working in isolation, the men are shown collaborating, with the more experienced individual imparting his skills and expertise to the others. This act of knowledge-sharing symbolizes the importance of passing down essential skills and techniques, ensuring the continuity of critical knowledge that can mean the difference between subsistence and struggle.
A Retrospective by Wilson Wachira
Kip Chogging
40cm * 60cm | Ink on paper
$1,659
The drawing you describe, titled “Kip Chogging,” captures the exhilaration and satisfaction of individuals jogging, evoking the Kenyan slang term that encourages people to “keep running” like the renowned Kenyan marathoner Eliud Kipchoge.
In the composition, we see a group of figures engaged in a joyful, energetic run. Their expressions are filled with a sense of contentment and pride, as if they are reveling in the physical and mental challenge of their workout.
The title “Kip Chogging” is a playful amalgamation of “Kipchoge,” the name of the legendary Kenyan distance runner, and the English word “jogging.” This linguistic fusion reflects the artist’s intention to capture the spirit of Kenyan running culture and its influence on the everyday lives of people.
Liberation
40cm * 60cm | Ink on paper
$1,659
The artwork “Liberation” depicts a group of determined individuals, carrying crude weapons, poised and ready to fight for their rights and freedoms.
The composition is striking, with the central figures standing resolute, their expressions a mix of defiance and purpose. They hold a variety of makeshift weapons, from machetes to clubs, signifying their willingness to take direct action against the oppressive forces they face.
The crude nature of the weapons, fashioned from the limited resources available to them, underscores the sense of desperation and the lack of access to more advanced tools of resistance. Yet, despite these constraints, the figures in the drawing exude a palpable sense of resolve and agency, refusing to be cowed by the challenges they confront.
African Baroque
40cm * 60cm | Ink on paper
$1,541
“African Baroque” is an ink-on-paper artwork that merges African cultural elements inspired by Baroque paintings. The piece features intricately detailed African human figures in dynamic poses, evoking a sense of struggle and resilience. The artist uses cross-hatching and stippling to create depth and texture, emphasizing the figures’ muscular forms and expressive faces. The composition showcases themes of unity and support, with some figures reaching out or lifting others.
Sugu
40cm * 60cm | Ink on paper
$1,541
The image titled “Sugu” depicts a chimpanzee with a formidable and determined gaze, conveying a sense of toughness and unwavering resolve. The title “Sugu” is a word that translates to “tough” or “resilient” in certain African languages, and this meaning is clearly reflected in the chimpanzee’s powerful expression. The animal’s eyes are narrowed, its brow furrowed, and its lips slightly parted, creating an intense and focused look that suggests it means business. This tough, no-nonsense demeanor of the chimpanzee is a striking contrast to the common perception of these animals as playful, social primates. However, the artist has purposefully chosen to depict the chimpanzee in this manner, highlighting the species’ inherent strength, adaptability, and determination to navigate the challenges of its environment.
Disturbia 3
21cm * 30cm | Ink on paper
$948
Disturbia 4
21cm * 30cm | Ink on paper
$948
Disturbia 5
21cm * 30cm | Ink on paper
$948
Disturbia 6
21cm * 30cm | Ink on paper
$948
Reflections 1
40cm * 60cm | Ink on paper
$1,422
Reflections 2
40cm * 60cm | Ink on paper
$1,422
Anthony Mega
Untitled 1
40cm * 60cm | Ink on paper
$1,422
Untitled 2
40cm * 60cm | Ink on paper
$1,422
Conditions of Sale
All buyers must register to bid prior to the sale and are requested to provide photographic proof of ID and if requested, a bank reference. Please see attached Registration and Bidding form at the back of this catalogue. For those leaving Absentee bids, please provide details of lots on which you wish to place bids at least 48 hours prior to the sale. This auction is subject to important Conditions of Sale as outlined in this catalogue and on our website. Please read these carefully. There will be a buyers’ premium of 15% + VAT (17.4%) on top of the hammer price. The auction will be conducted in Kenyan Shillings. The dollar estimates listed in brackets are used for reference only. The selling exchange rate used for these estimates is Ksh 110 to US$ 1 as the catalogue went to print three months before the auction date. This rate is indicative only and the exchange rate will be subject to prevailing market rates at the time of sale. Purchase of secondary market Kenyan art, marked ARR (Artist Resale Royalty) will be subject to payment of an Artist Resale Royalty as required by the Kenyan Copyright (Amendment) Act 2019. The amount payable will be calculated at a rate of five percent (5%) on the net hammer price. The net hammer price would be the hammer price minus agency commission. The Artist’s Resale Royalty applies to lots sold for KES 20,000 and above and does not apply to lots sold for charitable purposes. The AAR if payable, will be payable by the seller. The gallery will retain this 5% to pay the artist or artist’s estate and keep a record of payment. Please contact us for more information.
Terms of Auction & Terms of Bidding
1. DEFINITION OF TERM
1.1 “Acceptance of bid” means the electronic acceptance of any bid that is made for a sales offer by the system of the gallery following a bid at the minimum price or for a bid at a fixed price in the Buy-Now option, by selection of the Bid at a Sealed Auction or bilateral agreement between Buyer and Seller.
1.2 “Auction” means the electronic virtual auction of art on the secondary Market, in which the user participates, either at a fixed price, on highest bidder basis or on bid selection.
1.3 “Bid” means the offers made by a bidder in the effort to buy art in an Auction or bilaterally outside an auction at a price determined by it.
1.4 “Bidder” refers to a user who bids for art in an Auction.
1.5 “Bid selection” means the selection of a bid and a bidder with which the seller wants to complete the transaction.
1.6 “Reflections of resilience exhibition” means a type of Auction, where the seller has to define a Reserve Price and Bidders are able to place Bids while seeing the current Bidding level. If the highest Bidder is higher than the Minimum Price, he wins the Auction.
1.7 “Business days” are weekdays with the exception of Sundays and nationwide uniform public holidays.
1.8 “Buyer” means the successful Bidder, who enters into a sale and purchase agreement with the seller in respect of a art .
1.9 “Buy-Now option” means the variation of an Auction as described in item 12.5 below, in which the seller links its sales offer to a fixed price and the Acceptance of bid is made at the first Bid.
1.10 “Confirmation of registration” means the confirmation described in item 4.2 below with respect to the conclusion of an agreement between Ardhi gallery and the client.
1.11 “Data room” means the digital documents specified in item 7.2(b) below and information regarding one or several art (s).
1.12 “Ardhi gallery ” refers to Ardhi gallery Ole Sangale link road, off Mbagathi road, Nairobi Kenya
1.13 “Distribution agreement” means the contractual relation between Ardhi gallery and the collector regarding the provision art works for auction.
1.14 “Certificate of authenticity of” are documents, which directly or indirectly serve the purpose of providing proof of the legitimacy of the art, that the seller is in possession of.
1.15 “Duration of Auction” means the period, within which bidding can be made for the sales offer in an Auction in accordance with the detailed provision of item 12.4 below.
1.16 “End of Auction” means the conclusion of Auction either after the Acceptance of bid or at the end of the Duration of Auction.
1.17 “Exclusion from usage” means the exclusion of a client and the deletion of registration in accordance with item 6. below.
1.18 “Expiration Date” means a specific date according the Gregorian calendar after where the Bid in a Sealed Auction loses its validity.
1.19 “External data” means such information and documents as are obtained from third parties with respect to the art, such as certificate of authenticity, address information not compulsory.
1.20 “Fees” means the Consignment fee, the Listing fee, the Subscription fee and additional costs for special services.
1.21 “ART PRODUCT” means one or a number of asset(s) offered to investors/clients and that is/are traded on the secondary market and is/are put up for Auction.
1.22 “Fixed price” means the price of an Art product as specified by a seller for a sales offer in the choice of the Buy-Now option.
1.23 “Highest bid” means the highest bid in a Reflection of resilience that is followed by the Acceptance of bid.
1.24 “Indicative bid” means a not binding Bid, to give the seller an orientation.
1.25 “Indicative phase” means a period, where a Buyer can place an indicative bid.
1.26 “Listing fee” means the fee payable for listing the Art on the Secondary market. The respective Listing fee can be viewed on the documentation or website if provided.
1.27 “Marketing Agreement” means the contractual relationship between Ardhi gallery and the seller of Art regarding the marketing of a Art for sale on the secondary market.
1.28 “Minimum price” means the minimum amount fixed by a seller for a Bid in an Auction.
1.29 “Prohibition of circumvention” (“ban on circumvention “) means each clause of prohibition directed at a user pursuant to item 19 below.
1.30 “Registration” means the process described in item 5. below.
1.31 “Registration information” means the information and declarations contained in item 5.2 below.
1.32 “Sale and purchase agreement” means the agreement that is concluded between the seller and the successful Bidder in respect of the sales and acquisition of Art after an Auction.
1.33 “Sales offer” means the offer made to an undefined multitude of users upon consignment by the seller, calling on it to make Bids for Art in an Auction as well as conclude a Sale and purchase agreement immediately after the Auction.
1.34 “Sealed Auction” means a type of Auction, where a Bidder places a sealed Bid with Bidding Conditions and Expiration Date. The Seller selects the Bid and Bidder to execute the transaction.
1.35 “Secondary market” means the Internet-based and access-restrained trade platform for Art operated by Ardhi gallery on its website or social media.
1.36 “Seller” means a user, who has consigned Art to Auction on the Secondary market.
1.37 “Special services” means further services rendered to users by Ardhi gallery in addition to the basic services (item 7.2 below), particularly services in the sense of item 7.3 below.
1.38 “Successful buyer” means the Bidder that made the Highest bid within the Duration of Auction and attained the Minimum price stipulated by the Seller
who´s Bid was selected, who’s bid got accepted in a bilateral transaction agreement or who bid on the Fixed price set by the Seller (item 1.24).
1.39 “Terms and conditions of usage” means the following General Terms and Conditions of Usage and Auctioning for the Secondary market.
1.40 “To consign” or “Consignment” means the process described in item 12 below.
1.41 “Usage Agreement” is the agreement in the sense of items 2. and 3 below.
1.42 “User” means a person, who is registered in accordance with item 5. below, who is or may be a distribution partner, Seller, advisor or Buyer of Art.
1.43 “User’s Account” means access authorization to the Secondary market that is acquired by virtue of Registration. The User shall authenticate itself during login using email and a password. The system identifies the individual Users through the user’s account. The user’s account shall be created during Registration. The user’s account shall also serve the purpose of registering and capturing the value of the business transactions of the User in its relation to Ardhi gallery.
1.44 “Website” means the domain of the homepage www.ardhi gallery .org and all related sub-domains, particularly www.ardhi gallery .org and all other domains, on which Ardhi gallery operates the Secondary market.
2. CONTRACT PARTNER
The contract partners of the Usage Agreement in accordance with the Terms and conditions of usage are Ardhi gallery, the collector/art owner and the Users of the Secondary market.
3. OBJECT OF AGREEMENT
3.1 The object of the Usage Agreement is detailed in the Terms and conditions of usage and an optional Marketing Agreement.
3.2 In conjunction with other components of the agreement detailed in item 3.1 above, the Terms and conditions of usage regulates the usage of the Secondary market and the gallery physical space. Based on the detailed provisions of the Terms and conditions of usage, the Secondary market shall facilitate the online selling and offering of all sorts of Art or the submission of offers for the purchase of such Art by way of auctioning or Fixed price procedure. In addition to the provision of the Secondary market, the Terms and conditions of usage regulates the initiation and handling of Sale and purchase agreements with respect to such Art were offered through the Secondary market.
3.3 The Terms and conditions of usage shall apply exclusively to the business relations between Ardhi gallery and Users of the Secondary market, in the version that is applicable on the day of the conclusion of the agreement. By using the Secondary market, the User accepts the Terms and conditions of usage and the modus operandi of the Secondary market as described on their- Website. Ardhi gallery will not accept any such terms and conditions of trade provided by the User, as are in deviation from the Terms and conditions of usage unless Ardhi gallery has explicitly consented to their validity in text form.
3.4 The object of the Usage Agreement shall not be the terms and conditions of the Sale and purchase agreement on the Art facilitated by the Secondary market. Item 14. below shall apply to the legal relations between Seller and Buyer.
4. CONCLUSION OF THE USAGE AGREEMENT
4.1 Usage of the Secondary market shall be based on prior Registration as well as the conclusion of an agreement between Ardhi gallery and the User that accommodates the Terms and conditions of usage.
4.2 Unless otherwise agreed, the Usage Agreement shall be deemed concluded after complete Registration by the User and the receipt of the acknowledgement of Registration that will be transmitted in text form, latest however, upon the provision of services by Ardhi gallery.
5. REGISTRATION AS USER
5.1 Users shall register online on the Website of the Secondary market, following which a User’s Account will be created. The User shall choose a Username and a password during Registration. Usernames and passwords shall be kept confidential and shall not be transferred or ceded to third parties for use.
5.2 The Secondary market will be accessible only to entrepreneurs and persons of full age who are entrepreneurs and for whom the information demanded during Registration has been truthfully, completely and verifiably furnished. Registration information comprises information relating to the User and the declarations of identity, entrepreneurial properties and contact data, particularly as far as they relate to name, age, company name, postal address, commercial register or any comparable Registration agency, turnover tax identification number, representation details and information regarding a valid email address and if applicable, other information and declarations. No person who is a consumer or representative of a consumer shall have the right to be registered or use the Secondary market.
5.3 Should there be changes in the Registration information after Registration, the User shall correct them without delay.
5.4 Ardhi gallery reserves the right to verify Registration information through the submission of adequate documents as well as reject incomplete or non-verifiable Registrations. There shall be no basic right to the conclusion of a Usage Agreement.
6. EXCLUSION OF USERS
6.1 Ardhi gallery may temporarily or permanently exclude a User from using the Secondary market and/or deprive it of access to a Sales offer or from making a bid on a temporary or permanent basis as well as delete the Registration, if:
(a) there are sufficient indications implying that the User is violating statutory provisions, third-party rights or the Terms and conditions of usage or that such a breach is impending, and the User fails to correct the breach immediately in spite of warning,
(b) the Prohibition of circumvention has been breached,
(c) Ardhi gallery has called on the User to furnish proof of its identity and the User fails to furnish such proof within an adequate period in spite of having been warned of an impending exclusion,
(d) the User has furnished incomplete or false information during Registration and fails to complement or correct such information within an adequate period in spite of being requested to do so.
6.2 Exclusion from usage shall be without prejudice to the obligation of the User to pay agreed Fees and other rights of Ardhi gallery.
7. SERVICES RENDERED BY ARDHI GALLERY
7.1 In addition to basic services, the services owed by Ardhi gallery shall entail (if applicable) other
services that are subject to payment.
7.2 The basic services of Ardhi gallery shall be:
(a) Within the scope of technical possibilities (item 20 below), Ardhi gallery shall make the Secondary market available for the initiation and preparation of the conclusion of agreements with respect to the purchase and selling of Art s. The Secondary market shall facilitate the presentation of Sales offers by the Seller and the submission of bids by the Buyer and the fixing of the price of a receivable as well as the price for the Buyer of a receivable, who is active in the process of acquisition.
(b) The Secondary market shall facilitate the provision of digital documents and information for a Sales offer regarding the receivables.
(c) Ardhi gallery shall make available to Users at its own discretion and without guarantee for download, contract models and other such documents as are useful to the initiation, conclusion and if applicable, the handling of Sale and purchase agreements through the Secondary market.
7.3 Based on a special agreement, Ardhi gallery shall render Special services in addition to the basic services, particularly the following:
(a) Assistance in the preparation of the Data room as well as in the processing of agreements through the Secondary market.
(b) The digitalization of documents that are meant for the Data room through a service provider chosen by Ardhi gallery;
(c) Provision of External data in the Data room.
(d) Provisioning of Premium Packages with advanced functionalities on the Secondary market.
7.4 Ardhi gallery reserves the right to amend the Terms and conditions of usage as long as this does not affect material regulations of the contractual relation and is required for adaptation to developments that were not foreseeable at the time of the conclusion of contract and would lead to an imbalance of the contractual relation. Material regulations are particularly such regulations as are in respect of the type and scope of the contractually agreed services and the term including the regulation of terminations. Clause 1 shall apply analogously as far as required for the elimination of difficulties in the implementation of the agreement following the detection of regulatory loopholes after the conclusion of the agreement, particularly in the event of an amendment of the law or adjustment of jurisdiction.
7.5 The modus operandi of the Secondary market may be modified if deemed necessary for cause, if the User is not subjected to worse conditions in the aftermath thereof as compared to the modus operandi that was presupposed during the conclusion of the agreement from the point of view of an objective third party, if there is no major deviation from functionalities in the event of the retention or improvement of the functionalities of the Website. Cause will be deemed given for instance in the event of technical innovations or in case of amendments to the services provided by third parties, from whom Ardhi gallery obtains the relevant preliminary services to be able to render its own services.
7.6 Agreed Fees may be increased to offset increased costs. This will be the case e.g. if third parties, from whom Ardhi gallery obtains the relevant preliminary services to be able to render its own services, increase their prices. Moreover, increase in fee will be possible in the scope necessitated by any increase in turnover tax.
7.7 Ardhi gallery shall inform Users of any amend-
ment that is made in accordance with items 7.4 to 7.6 above at least four weeks prior to effectiveness. The User shall have a special right of termination at the time of the effectiveness of such amendments. Should the User fail to terminate the agreement in writing within four weeks of the receipt of the amendment notification, the amendments are considered to be accepted by the User and shall become an integral part of the agreement at the time of effectiveness. In case of an active confirmation on the Secondary market, the changes are considered accepted with immediate effect. Ardhi gallery shall explicitly draw the attention of the User to the consequences of the amendment notification.
7.8 Notwithstanding item 7.4, Ardhi gallery may also modify the essential provisions of the contractual relationship. If the User does not agree with the changes to the essential provisions of the contractual relationship, the User shall be entitled to terminate the contract without notice and free of charge. A change to essential provisions of the contractual relationship requires an active confirmation by the User on the Secondary market. By an active confirmation the changes to the essential regulations of the contractual relationship are considered to be accepted by the user with immediate effect. Ardhi gallery shall inform the User expressly about the consequences of the notification of changes.
7.9 Ardhi gallery is neither a credit institution nor is it a financial service provider in the sense of Section 1 of the Banking Act. Ardhi gallery does not render debt-collection services nor does it render banking or financial services; it shall confine itself solely to the operation of the Secondary market in accordance with the Terms and conditions of usage.
7.10 Ardhi gallery shall have the right to use the services of third parties (vicarious agents) for the purpose of living up to its contractual obligations towards its Users.
8. OBLIGATIONS OF THE USER
8.1 The User itself shall be responsible for establishing connection with the Secondary market through the Internet or directly with the gallery. This includes the usage of sufficiently dimensioned tools for the usage of the Secondary market as well as the respective telecommunication infrastructure.
8.2 In case of the unforeseeable failure of the Secondary market or its Internet connection that cannot be ruled out in the technology, the User shall take precautions with regards to the backing up of data.
8.3 The User shall use the Secondary market and the range of information offer provided therein, solely for the designated purpose of acquiring information and/or initiating and concluding Sale and purchase agreements.
8.4 The User shall make no such contents accessible with or through the Secondary market, as are in breach of statutory regulations, particularly provisions of the criminal or competition law or infringes on third-party rights, including copyrights, industrial property rights (e.g. trademark or other labeling rights) or personality rights. The same shall apply to offensive contents.
8.5 The User undertakes not to impede the smooth operation of the Secondary market and particularly, not to undertake, mandate or tolerate any action that may disrupt the designated function of the Secondary market and/or the designated access of other Users to the Secondary market.
8.6 Users are obligated to prevent criminally motivated transactions and contribute to uncovering and fighting them. This relates particularly to transactions serving the purpose of money laundering or financ-
ing terrorism as well as other punishable actions that may constitute hazards to the property of a User or Ardhi gallery. Sellers and Buyers are particularly obligated to comply with statutory provisions on combating money laundering in accordance with the law on the tracing of profits realized through serious criminal offenses (Money Laundering Act ). This shall include the transmission of information to the other respective contract partner for identity verification, latest before the conclusion of the Sale and purchase agreement.
8.7 Buyers are obligated to inform Ardhi gallery immediately before payment of the purchase price about the upcoming payment and the respective purchase price.
9. FEE OBLIGATION, FOLLOW-UP PERIOD
9.1 Registration on the Secondary market shall be free of charge.
9.2 Participation in an Auction and the utilization of Special services shall be subject to the payment of Fees. The Seller bears the Listing fee. The Seller shall pay the Consignment fee unless it is otherwise stated in the Sales offer that the Buyer shall pay such Consignment fee. The costs of Special services shall be taken from the price list unless otherwise agreed in text form.
9.3 All Fees are net Fees. VAT only applies if these are the statutory.
9.4 The User shall be able to set-off accounts against Ardhi gallery only if the receivables are not disputed or have been legally ascertained. The User shall be able to base withholding right only on such receivables as are due to it from Ardhi gallery by virtue of the respective agreement.
9.5 Remuneration shall be made even if the User sells a consigned receivable to a User that is registered in Ardhi gallery within one year (follow-up period) of the revocation of a sales-offer (item 13 below). In such case, the User will be obligated to inform Ardhi gallery of such successful sale within the follow-up period.
11. CHARGING OF FEES, TERMS OF PAYMENT, ADVANCED PAYMENT
11.1 The Listing fee is earned and due with each start of an Auction on the Secondary market by Ardhi gallery. This also applies to a possible repeated Auction or a possible Indicative phase. The Listing fee is in particular independent of a successful acceptance of a bid. The respective Listing fee can be viewed on the website.
11.2 Consignment fees will be charged with the acceptance of a bid in an Auction or with any other bilateral transaction agreement between Seller and Buyer. In addition to sentence 1, the Consignment fee will also be charged if:
(a) the Consignment fee is to be paid by the Seller if
(i) the Seller has revoked its Sales offer in accordance with item 13.2 below and if the Buyer is able to demand the refund of his expenses from the Seller in the cases of item 13.3 below; or
(ii) the Buyer waives the conclusion of the Sale and purchase agreement in the case of item 17.3;
(b) if the Seller waives the conclusion of the Sale and purchase agreement in the cases of item 17.4 below the Consignment fee has to be paid by the Buyer.
11.4 Other Fees, which are not Consignment fees, the Listing fees, the Subscription fees, including fees for Special services, shall be charged after the service has been rendered.
11.5 Fees will be due for payment upon the receipt of an invoice. Invoiced amounts shall be paid into the bank account specified on the invoice. They shall be credited not later than the fifteenth day of the receipt of such invoice.
11.6 Ardhi gallery shall refund advanced payments to the User if the fee for which such advanced payment was made has not been charged.
12. CONSIGNMENT OF ART
12.1 The User, who is the Seller of art shall consign Art to Auction and offer same for sale only if it will be in a position to meet the conditions of the Sale and purchase agreement and if it is the owner with the right of disposition over such Art or a third party has authorized and empowered it to dispose of such art. In case of acting for a third party the power of attorney has to be shown.
12.2 For the duration of this agreement the Seller undertakes not to appoint third parties apart from Ardhi gallery with advertising, sales promotion, brokerage or similar services relating to the sale of the art.
12.3 For the duration of this agreement after end of auction the Seller undertakes not to conduct any direct sales activities of its own without involving Ardhi gallery.
12.4 During marketing, the Seller shall determine the Duration of Auction within the scope of the minimum and maximum limits that are predetermined by Ardhi gallery, the type of Auction, the Minimum price, and if the Seller wants to place an Indicative phase preliminary to an Auction. In the process, the Seller may decide at its own discretion, to extend the Duration of Auction by the respective length of time to be specified by it if the Minimum price has not yet been attained. This shall be without prejudice to the authority of Ardhi gallery to automatically extend the Duration of the Auction in accordance with item 16.3 below.
12.5 Art may be consigned to Auction with the Buy-Now option. In such case, the Acceptance of bid shall be made independent of the Duration of an Auction at a Fixed price and upon the first bid.
12.6 In consigning the art to Auction, the Seller shall furnish such information as is required for the assessment of the art and for the conclusion and fulfillment of the Sale and purchase agreement in a truthful manner or post same in the Data room or both. It shall not knowingly withhold any such information from the Buyer in the Sales offer, as may reduce the value of the art. This shall include any such information and documents as are requested on the Website in the course of consigning the art to Auction.
12.7 For the purpose of ensuring data protection, the User shall observe – while furnishing information in accordance with item 12.6 above – that it takes care on the local laws regarding data compliance and the General Data Protection Regulation (GDPR).
13. REVOCATION OF A SALES OFFER
13.1 The Seller undertakes towards Ardhi gallery not to revoke the Consignment of a Art within the Duration of Auction subject to item 13.2 below.
13.2 The Seller shall have the right to revoke a Sales offer before the Acceptance of bid if the legal base of the Art has been lost in part or in whole within the Duration of Auction or if material legal relations undergo changes in any other way with respect to the Art, and the Seller has informed Ardhi gallery of the withdrawal of the Art in advance.
13.3 Should bidding in the Reflection of resilience have been made at the Minimum price before
the revocation, the Seller shall – in the event of revocation – furnish the Buyer proof of the reasons that have led to such revocation. Should the proof not be furnished, or should the proof be insufficient to justify the revocation of a Sales offer, the Seller shall compensate the Buyer the costs of verifying the Art at an adequate amount. The Buyer shall own direct entitlement towards the Seller by virtue of the obligation of clause 2 (real agreement in favor of third parties).
13.4 The Seller can revoke a sale offer during and after the Indicative phase. In this case the fee for the Indicative phase is due.
14. LEGAL RELATIONSHIP BETWEEN USERS
14.1 The Secondary market shall provide, in accordance with the provisions of the Terms and conditions of usage, the virtual opportunity for the initiation of a Sale and purchase agreement between the Seller and a Bidder in an Auction-type environment with Ardhi gallery serving as an agent.
14.2 The Sale and purchase agreement shall neither be deemed concluded upon the Acceptance of bid nor by virtue of other declarations or actions on the Secondary market. The Sale and purchase agreement shall be deemed exclusively concluded between the successful Bidder and the Seller as an after-effect of the Auction. Unless otherwise agreed, content and fulfillment as well as the processing of the Sale and purchase agreement shall only involve the parties to the Sale and purchase agreement and be deemed done at their own risk and on their own account.
14.3 The User agrees to comply on its own responsibility with all the legal provisions that are of relevance to the User during the initiation, conclusion and processing of the Sale and purchase agreement, including the provisions on distance selling and electronic business operations , data protection as well as local Banking laws and the relevant provisions of the fiscal law (e.g. User-relevant disclosure obligations) and all statutory User-related and teleservices-related requirements.
14.4 Ardhi gallery shall render no legal services in connection with the conclusion and processing of a Sale and purchase agreement.
15. CONTRACT AND PROCESSING MODEL
15.1 The Seller is obligated to submit his Sale and purchase agreement to the Data room before activating the Auction.
15.2 The successful Bidder agrees to accept the Sale and purchase agreement from the Seller. The Seller shall ensure on its own responsibility that the terms and conditions of its own Sale and purchase agreement do justice to the distinctive features of Website an physical auctioning through the Secondary market.
16. EXPIRATION OF AN AUCTION, BIDDING AND CONCLUSION OF AGREEMENT
16.1 The Website and physical location offers the option of selecting Sales offers through a search function and submitting a bid within the period of the Auction. Prices specified in bids may contain incurring turnover taxes in the statutory amount.
16.2 A bid shall take effect upon its submission to the Website and its transmission to the Secondary market. In a Reflection of resilience, a Bid shall be subject to the deleting condition that a higher bid may be submitted during the period of the Auction. In a Sealed Auction a Bid shall be subject to the deleting condition if the Expiration Date elapses or the Seller selects another Bid.
16.3 Ardhi gallery shall have the right to extend the
Duration of the Auction at its reasonable discretion for the purpose of considering higher bids. Should the extended Duration of Auction expire without the submission of a higher bid, the Auction shall be closed. Should in Reflection of resilience another higher bid be submitted within the final three minutes preceding the expiry of the Auction Duration, Ardhi gallery shall have the right to automatically extend the period by three more minutes. In this case, the Duration of Auction shall be extended automatically.
16.4 Within a period of six months of an unsuccessful Auction, a Bidder shall have the opportunity of specifying a new price (relisting) for the Art through the Secondary market. In such case, the Seller may choose to renew the Sales offer and consign the Art to Auction once again.
16.5 Additionally, the Seller can place an Indicative phase preliminary to a binding phase. In this phase the Seller is not obliged to sell. 16.5 Buyers can place non-binding Indicative bids. This phase is used for both sides for a pricing orientation and convergence.
17. CONCLUSION AND PROCESSING OF THE SALE AND PURCHASEAGREEMENT
17.1 Users will be constantly informed of the status of the Auction by Ardhi gallery. Following the end of the Auction, Ardhi gallery shall brief the Seller and the successful Bidder on the Acceptance of bid as well as transmit to both parties the Adapted Contract Model.
17.2 The Sale and purchase agreement shall be concluded after the end of the Auction without delay and on the basis of the Adapted Contract Model. If the agreement is not concluded in the presence of Seller and Buyer at the same time and if not otherwise agreed, Buyer shall send a minimum of two copies of the Adapted Contract Model duly completed and signed in the required form to Seller for countersigning without delay after the end of the Auction. Seller shall countersign the copy that is meant for it and send it back without delay, including the financial documents of the Art.
17.3 Buyer shall have the right to refrain from concluding a Sale and purchase agreement if the Seller fails to submit to Buyer all documents relating to the Art and a legally and if applicable, formally valid declaration of cession within 25 Business days of the end of the Auction. In case of a notarial documentation the time limit will be extended to 60 days.
17.4 Seller shall have the right to refrain from concluding a Sale and purchase agreement if the purchaser declines using the Adapted Contract Model for the conclusion of the Sale and purchase agreement or demands amendments or deviations from the terms and conditions of the Adapted Contract Model or the Highest bid in a manner that is in breach of good faith.
17.5 Seller and Buyer may refrain from concluding the Sale and purchase agreement if the commencement of business relations will be in breach of criminal statutes or fails to meet the standards required for authentication examination in accordance with local Anti-Money Laundering rules (item 8.6 above) or if the User’s in-house guidelines for combating money laundering forbid, in conjunction with local Anti-Money Laundering rules, any form of engagement in a business relation.
17.6 Seller and Buyer agree to report the conclusion of the Sale and purchase agreement to Ardhi gallery without delay.
18. OBTAINMENT AND PROVISION OF EXTERNAL DATA
18.2 Ardhi gallery does not subject External data to verification.
18.3 No such assessment symbols, certification labels or other third-party symbols as may strengthen the impression of User’s reliability and as are made available by such third parties for classification or assessment purposes, shall be applied by the User on the Website and the physical location particularly on the offer pages and profile pages unless they are authorized by Ardhi gallery .
19. PROHIBITION OF CIRCUMVENTION, CONTRACT PENALTY
19.1 No User shall either directly or indirectly circumvent or attempt to circumvent the Secondary market and its procedures governing the conclusion of a Sale and purchase agreement in matters affecting the selling or the purchase of a Art that has been consigned to Auction in order to facilitate the avoidance of the payment of a fee that is due to Ardhi gallery .
19.2 In accordance with item 19.1 above, Seller is particularly obligated to refrain from making the following Sales offers:
(a) Sales offers or contact requests in which a Bidder is required not to submit bids in an Auction but to establish direct contact with the Seller to facilitate the initiation and conclusion of an agreement outside the Secondary market.
(b) Sales offers that seek to achieve in any other way, the goal of selling or purchasing a Art that has been consigned to Auction, outside or by bypassing the Secondary market.
(c) Such Sales offer as design the on-screen information regarding the Art on the offer pages of the Secondary market in such a way that the contact information of the Seller (e.g. email address, web address, telephone number or the like) is made visible on subtitles, in the description of the Art or in any other form.
(d) Sales offers in which the Highest bid or Fixed price is not the final price for the purchase of a Art . This includes Sales offers in which payment by installment is permitted (e.g. leasing or hire financing) and the final price displayed is only one or several installments of the overall price of a Art .
(e) Sales offers that fail to assign Art to the appropriate category of the Secondary market to circumvent the payment of Fees in the appropriate category.
(f) Sales offers in which the purchase of further Art of the Seller is demanded in addition to the Art specified in the sales offer.
(g) Sales offers containing brochures, presentations and descriptions of Art that are supposed to be purchased directly from the Seller by bypassing the Secondary market.
(h) Sales offers in which further Arts– identical Art or different variations of the Art on offer – are offered for purchase within the description of Arts.
19.3 According to item 19.1 above the purchaser is obligated to refrain from the following purchase offers:
(a) Bids or requests for contact in which a Seller is expected to discontinue Auction to establish direct contact with the Buyer for the purpose of initiating and concluding an agreement outside the Secondary market.
(b) Bids or requests for contact with the aim of
selling or purchasing a Art in any other way that has been consigned to Auction, outside or by circumventing the Secondary market.
(c) Bids in which the purchase of further Art of the Seller is demanded in addition to the Art specified in the Sales offer.
(d) Bids or requests for contact containing the brochures, presentations and descriptions of services that are offered directly by the purchaser in circumvention of the Secondary market.
19.4 With reference to item 12. claims from other operators of a trading platform or from other brokers in relation to the Art are to be paid in full by the Seller and have no influence on the Consignment fee due according to item 11.
19.5 In case of the breach of the Prohibition of circumvention, the User shall pay a contract penalty amounting to twice the fee that would normally have been due for payment. The contract penalty shall be set off against any claim for damages.
20. TECHNICAL FAILURE AND MAINTENANCE
20.1 Based on the state of the art, the risk of the unforeseeable breakdown of the Secondary market cannot be ruled out.
20.2 In the event of an unforeseeable breakdown of the Secondary market, Ardhi gallery shall keep the User informed as far as feasible at reasonably expectable expenditure within the scope of existing technical possibilities. Should the Duration of an Auction come to an end during an unforeseeable failure of the Secondary market, Ardhi gallery shall extend the period adequately at its own reasonable discretion unless the Seller informs Ardhi gallery that it does not require any extension. Ardhi gallery shall refund Fees that have already been paid for offers that could not be posted in the aftermath of the unforeseen failure unless Ardhi gallery is not responsible for the failure.
20.3 Ardhi gallery shall inform Users of impending maintenance work on the Secondary market and the presumable duration of such work by posting messages on the Secondary market, taking the rightful interests of Users into due consideration during the execution of such work. The Duration of Auction will not be extended as a result of failures caused by maintenance work; Fees will also not be refunded in such cases.
21. LIABILITY OF ARDHI GALLERY
21.1 Ardhi gallery shall be liable to the User in all cases of contractual and extra-contractual liabilities for intent or gross negligence in accordance with
statutory provisions relating to damages or reimbursement of frustrated expenditure.
21.2 In other cases, Ardhi gallery ’s liability only applies to a breach of a contractual obligation the fulfillment of which is a material prerequisite for the execution of the agreement and on whose fulfillment the User may generally rely (cardinal obligation); such liability shall be limited to the compensation of foreseeable and typical damages unless this is otherwise regulated in item 21.6 below. In all other cases liability on our part shall be excluded subject to the regulation of item 21.6 below.
21.3 Ardhi gallery shall particularly not be liable for:
(a) External data that are available on the Secondary market, particularly the up-to-date status of such External data;
(b) faults/errors in the digitalization of the Documents of arts;
(c) information provided in respect of the Art s, including the actual existence of Art s, the information furnished by the Seller regarding the Art s, and the debtor’s solvency status and willingness to pay;
(d) the Adapted Contract Model, including its suitability for the purchase transaction. Ardhi gallery shall, however, not assume legal or fiscal consultancy in this respect.
21.4 Every User is advised to enquire the legal and fiscal implications of a Sale and purchase agreement.
21.5 Ardhi gallery shall be liable for any breach of obligations by vicarious agents within the scope of the limitations and exclusions regulated in this item 21.
21.6 The foregoing limitations and exclusions of liability shall be without prejudice to the liability of Ardhi gallery for damages resulting from injury to life, limb or health.
22. LIABILITY OF THE USER, INDEMNIFICATION
OBLIGATION
22.1 The User shall be liable to Ardhi gallery in accordance with statutory provisions.
22.2 The User shall hold Ardhi gallery harmless from all such claims against Ardhi gallery as are asserted by other Users or third parties contending that the usage of the Secondary market by the User, including the declarations or other contents that are posted on the Secondary market by the User, are in breach of their rights and other legal provisions. The indemnification obligation shall also cover the assumption of such expenses in adequate amount incurred by
Ardhi gallery in connection with its legal defense. The User shall not be obligated to ensure indemnification if it is not responsible for the breach.
22.3 The User agrees to make all such information available to Ardhi gallery without delay, truthfully and completely in the event that claims are invoked by a third part, as will be required for the assessment of claims and for its defense.
23. TERM OF CONTRACT AND TERMINATION
23.1 The Usage Agreement shall be concluded for an indefinite period. Every party shall have the right to terminate the Usage Agreement with statutory notice at all times without providing reasons.
23.2 Every termination shall require the text form for validity.
23.3 Termination shall be without prejudice to the accrual of any fee.
24. COPYRIGHTS
Ardhi gallery reserves all rights to all images and texts on the Website. The usage of images and texts shall not be permitted without the express consent of Ardhi gallery.
25. FINAL PROVISIONS, APPLICABLE LAW AND PLACE OF JURISDICTION
25.1 The laws Republic of Kenya shall apply. Only the English version of this Agreement shall be binding.
25.2 As far as legally permissible, the sole place of jurisdiction for all disputes in connection with any agreement that has been concluded between Ardhi gallery and any User shall be in Kenya.
25.3 In addition to the ordinary judicial process, the parties can also agree to appeal to an arbitration court.
25.4 Contract-related notifications by Ardhi gallery that are addressed to the User or such that are addressed to Ardhi gallery by the User shall be furnished in text form, including by email or WhatsApp or Instagram, if not otherwise agreed.
Dr. Wilson Wachira
Art Collector, Patron
My name is Wilson Kimunya Wachira, the middle child in a loving family of four. I was born and partially raised in Rift Valley, growing up in a household where my mother ensured that everything she bought was unique enough to be the talk of the village. Surrounded by many artisans, I was exposed to art at a very young age. I fondly remember presenting exhibits for the Annual Shows, which were the highlight of my primary school years. In high school, I chose art as an elective subject I truly loved. Shortly after finishing high school, I purchased my first print, which remains one of the best days of my life and a treasured possession to this day. This marked the beginning of my journey as an art collector, a path that has allowed me to explore the deepest parts of my being.
My vision is to inspire a generation of collectors from a young age and bring order to the art world while celebrating our artists adequately. I aspire to see a time when art is viewed as a viable store of value, comparable to land and other assets; a period when artists are celebrated globally and respected as other professionals are; a time when individuals use art as therapy, helping them cope as it did for me; and an era where expression is venerated and respected, because art is life, and life is an art.
Winnie Musungu
Curator & Gallery Manager, Ardhi Gallery
I am a passionate Gallery Manager and Curator dedicated to showcasing innovative and thought-provoking exhibitions whose career is built on a deep appreciation for diverse artistic expressions and a commitment to fostering a dynamic cultural environment. My expertise extends to curating exhibitions that not only highlight artistic excellence but also engage the community and spark dialogue. My role involves planning, from sourcing and negotiating with artists to coordinating with designers. I have a keen eye for detail and a strategic approach to maximizing gallery space, ensuring that each exhibition is both visually compelling and logistically seamless. My goal is to create a vibrant space where art is celebrated and where visitors can experience the transformative power of creative expression. Driven by a passion for education and outreach, I also design and implement programs that deepen the public’s engagement with art. Whether through lectures, workshops, or interactive events, I am committed to making art accessible and meaningful for all.
A Retrospective by Wilson Wachira
Opening Hours
Tuesday-Saturday 10:00 am - 8:00 pm
Sunday 12:00 - 8:00 pm
Holidays or after Hours by appointment ardhigalleryke@gmail.com
