Kumbukumbu nzuri is a new exhibition by Kenny Woodrow that we are thrilled to have in our Grace and Imagination Gallery in Fitzroy. Kumbukumbu nzuri is a collection of Kenny's East African paintings from Kenya and Tanzania. An English translation of the Swahili is ‘Beautiful/Good memories’.
This is a stunningly vibrant and beautiful collection of work that draws you into East African life. These painting will captivate the eye as you walk past them and the second look that they will demand from you will have your brain engaged and your heart touched.
Take a journey into dress, customs and everyday working life of east Africa. I asked Kenny a few questions about himself, his art and Kumbukumbu nzuri.
When did you first discover a love or gift for art?
My earliest memory of someone commenting on my artwork was in Primary school after I had completed a foiled paper mosaic picture of a colourful parrot. The picture brightened up the magnolia painted wall in the wee country primary school near Ballymena!
Art was a subject I enjoyed in secondary school. I received encouragement in my efforts and I also had a Chinese friend who was a really talented fine art artist who showed me what could be achieved with a bit of effort. I was able to take his ‘constructive criticism’ of my work at a time when most said – Oh, that’s nice! In secondary school and later in grammar school I had the opportunity to use different materials but always preferred fine art (drawing, painting), rather than working in graphics, ceramics or sculpture. I studied education with Art as my main subject in Stranmillis and after graduating taught Art in a special school in SEELB. Secondary school, grammar school and Teacher training college were all part of my development, and I was ready for new creative challenges during these stages.
What about your own style. How did you find that?
I don’t think I’ve found one or settled on a style yet. Surely there has to be more to discover!!
I really enjoyed my time studying History of Art, looking at lots of different artists work, trying to figure out how they technically achieved the effect they did. Back in Northern Ireland I enjoy Arts TV programmes that describe the society artists were living in at the time, and the way their artistic style developed over their lifetime.
I also now have had exposure to African artists work. East Africa has a great art style called TINGA, TINGA, which portrays stylised safari animals and Africa landscapes. It’s great to see how resourceful artists are with the lack of artists materials available to them. Most people will see my work as realism.
My work as an illustrator with Wycliffe meant that I had to ensure that the pictures were very realistic is style. No figures were to be placed behind boulders and figures had to show all the limbs, otherwise the people they were intended for could be confused.
Illustrations in these early reading Literacy booklets were to be kept simple as adult readers were beginning to learn how to read a picture as well as learn how to read text. Outside of the restraints of my work assignment, I regularly came across people, situations, places that I visually thought would make great images to represent artistically. A camera is a great tool for helping capture these moments. The only problem is, you never have the camera about when the event is happening!
This exhibition is set in East Africa. How did you end up there?
This is a conversation that should take place over a coffee! The short answer is that I, along with Andrea, were supported as we began a ‘short term’ assignment with Wycliffe Bible Translators. I should say our 2 year assignment has extended to beyond 20 years of service now! We both left our teaching jobs in Northern Ireland and with continued prayer and financial support, served as support personnel for Wycliffe missionaries working with people groups in Kenya, Uganda and eventually in Tanzania.
As a couple we had been exploring options of Christian service with quite a few missionary organisations but it wasn’t until a Wycliffe missionary explained the need for ‘anyone good at drawing’ to help translation projects with producing literacy materials, that we believed this was a ministry we were gifted to serve with. Following a number of preparation years with Wycliffe, we began our overseas assignment with Wycliffe in Kenya and were seconded to assist Bible Translation and Literacy (BTL) projects.
These early years of service overseas still have a huge impact on our appreciation of what God is doing among many diverse ethnic groups in East Africa. Over the years we have come across men, women and children of faith, who despite many challenging personal circumstances are passionate about seeing God extend his kingdom during their season of ministry.
What caught your attention to do these particular pieces?
The pieces are from 2 different periods of our family living in East Africa. The Kenya paintings are images, which I suppose, have a real personal interest for me. When you come across people groups such as Rendille, Samburu, Borana, Turkana, Daasanach for the first time, you are immediately struck by their appearance which is so different from anything you’d see in Ahoghill!!
In my oil paintings of women, I wanted to show what they wear and how they adorn themselves while living in a remote location. No Boots Chemist to call into, or Claire’s for accessories! You really need to have an understanding of their culture to make any sense of why they appear as they do, and the roles that they play within their group.
The paintings that I have of women record anthropological details, as well as maybe being interesting to look at. One of my maasai woman paintings show how a mother uses a wrap to carry her baby. Another painting is of a group of Rendille women. Although the painting shows what they wear and the adornments they have around their neck and arms, one woman in the composition does not have her head shaven as she is showing to her community that she is pregnant.
The maasai men usually dress in a particular way with a brightly coloured blanket. Their standing posture reminds me of historical sculptured figures I had studied previously during History of Art revising, but I also wanted to show what else they usually have with them including their dagger, urungu, and stick. Again, the stick has a particular meaning among the men’s peer group and community.
The Tanzania and Zanzibar paintings are large oil paint versions of previous artwork I completed when living in Dar es Salaam.
Did you do this art on the field? If not, what did you work off? memory? Photos?
Life in another culture for an extended period of time may not always go as you hope for or had planned! I did have opportunities to train local artists and get involved with Literacy projects, but a large proportion of my time has been ensuring scripture books and literacy books are ready to be sent to print. As a change from working with typeset documents and strange looking fonts that won’t print correctly, etc, I do look for ways to keep the creative juices flowing. I recently was bought a really good digital camera that has allowed me to capture scenes and moments that I wish I’d captured previously.
After living for more than 3 years in a country, you become more selective about what pictures you want to take, and what meaning the activity you captured is trying to show.
The second assignment for our family in East Africa was a request to work in Tanzania and as I thought of the variety of images I had taken of men, women and children I wanted a new way to try and paint them. I tend to let pictures percolate in my imagination for a while before I attempt them.
Trying to paint with oil paints in Tanzania wasn’t a great success and became a source of frustration. Working from photographs I had taken during my travels and holiday my first attempts were created on paper using oil pastel. 12 images were produced with the intention of returning to the images at some point when we would be living in a cooler climate where I could use oil paint.
I had to wait 2-3 years, when we returned to NI, before I could continue with my ambition to have the Tanzania images, painted on large canvases using oil paint. I bought a second hand wooden garden shed - via a well-known discount website - and built a studio in our back yard. It’s been great to have the room, the accessibility to art materials, and the time to enjoy painting and drawing again.
I always saw the Tanzania based oil paintings as a series that needed to be seen together, rather than paintings that were to be shown when they were individually completed. I’ve recently returned to realistic pencil drawing again as a skill which needs to be practised regularly and is something which I hope will develop my future work. Digital technology for artwork can create incredible images, but for me, there’s something more engaging/valuable in a work of art that someone has taken time and interest in producing and is able to share with others.
What do you hope people might gain from the exhibition?
My immediate reply to this is to scream… ‘THERE’S A BIGGER WORLD OUT THERE, NORTHERN IRELAND!!’
It’s been interesting and perhaps disappointing to discover there’s not much interest in Africa based artwork in Northern Ireland as I’ve talked with various gallery owners. I hope that friends who have regularly asked me how the artwork was going, will be able to see the paintings as a collection rather than as individual pieces. As well as having anthropological interest in the figures appearing in the paintings I hope that most of the work will be considered a colourful celebration of life lived out in East Africa.
KUMBUKUMBU NZURI will show in the Grace and Imagination Gallery, Fitzroy from November 30 - January 22 (open at Fitzroy events and when staff are in the building - use Rugby Road door)