Victoria Thuo (Blaine)
Victoria Thuo, popularly known as Blaine, is a painter and graffiti artist based in Nairobi. In this interview with Blaine, she tells us how watching a TV show ignited her love for art at a young age and her evolution from sketching to exploring cubism, expressionism, and impressionism styles in her paintings, with a twist of African-inspired shapes.
Tell us about yourself. What is the brief history of your artistic journey?
Art was never my interest at first, and the seeds were planted at 11 years old from watching the interactive children’s TV show, "Club Kiboko." It had an art tutor who demonstrated how to draw and sketch using coloured pencils and crayons. I practiced throughout the years until I realized that it was something that I could do. My new-found interest pointed me in the direction of pursuing a diploma in fine art and design, which led to a degree at Kenyatta University. I started playing with colours and making lovely paintings when I joined the university.
What did your first paintings look like?
Cubism, influenced by Pablo Picasso, was the first style that I explored in my pieces. I painted faces, shapes, and patterns using flat colours and moved towards incorporating other styles like expressionism and impressionism.
How did this decision come about?
My first painting class gave me access to experiment with various tools like pallet knives and brushes. I was familiar with realism and was looking to explore other styles, which led me to Pablo Picasso, the inventor of cubism. I found cubism emotionless because I was using the same color, so I researched different other styles to add depth to my work. Afterwards, I researched how expressionists use bold strokes and colour to bring their ideas to life. Colour is a tool of emotional expression in my work. I like manipulating different emotions using colour. Continuously experimenting got me to the point of saying, "This is the way I want to do it."
What informs your choice of subjects and themes?
I cannot say that there is a specific inspiration behind it. We can have a conversation right now and paint. I may use portraits or simple scenes. Generally, I just pick things from my surroundings, and anything is an inspiration. The same applies to the themes that I choose for my work. I paint what comes to mind and what I feel inspired to do. The main objective of my style and themes is more about exploring emotions through colour than the image itself.
How do you conduct research for your work?
The process starts with deciding on a topic and a subject. I will browse the internet to examine paintings that have been produced under the same theme. I select about five pieces and compile them onto a mood board to further analyze technique and think about how to use my style to achieve the theme. After that, I take photos of my subjects in action to use as reference images in my work. At some point in my work, I need to write about what the painting is about. Most of the writings are either poems or quotes from books.
What are your favourite mediums, and why?
Canvas, glass, wood, acrylics, and pigments. Acrylics dry fast and can be used indoors because they don’t have a pungent smell compared to oil paints. Once I apply the first layer, I can keep working on the painting as much as I can,without the fear of smudging it.
What kind of feedback have you received so far about your work?
From exhibitions, my audience normally asks, "Why don’t you paint like an African artist?" They feel like my style is unique, and I think it is because when you take a close look at the paintings, you get to see their structures.
On the flip side, a painting from a series titled "Lust" elicited different reactions from the audience. It was a painting of a woman sexually dominating a man. Some people interpreted it as someone being taken advantage of, and I think the reaction would have been different if it was a man dominating a woman.
Tell us about your journey as a graffiti artist.
I ventured into graffiti art while at the university. A classmate of mine, a graffiti artist, came across my sketchbook of graffiti fonts and started training me. I wanted to prove that I could do it, as there are not many women in this field. The pawa254.org would encourage artists to stop by to paint on their walls, and this was my first stop. I have produced graffiti art pieces at the old Pawa 254 office, Fida headquarters, the city market, outside a school wall in Eastleigh, and a private residence in Nyeri, among others. The legalization of graffiti has made the public more receptive to the art form by interacting with us when we create live pieces.
What do you think about the lifespan of graffiti art as an artist?
A graffiti piece can last longer when you first coat the surface with oil paint. If you use the wrong paint, it will age after three months.
Who are your most impactful influences?
Kenyan visual artist Patrick Mukabi was my mentor and encouraged me to participate in my first group exhibition at Alliance Francaise, and to market myself as an artist. I love how Nigerian visual artist Solomon Omogode captures faces with wild strokes in his portraits. French artist Mateo Humano uses negative spaces like me. I like how he uses colour to bring out the image on a canvas, similar to acting against light. The unique aspect of his work is that he paints on carpet rugs using brushes and spray paint. And lastly, Ghanaian contemporary artist and photographer Edem Dedi creates portraits and figures where his subjects mostly sit on two-layer backgrounds by using dark and light shades of the same colour. His images are impressionistic; you will see the faces with rough brushstrokes.
How do you manage to generate an income through your art?
Merchandising has expanded my market by making it more affordable to more people. I put my artwork on fridge magnets, hoodies, jackets, and pin buttons and sell them at events, among other platforms. I also earn from exhibitions and get to work on mural and graffiti projects through referrals and applications. In the near future, I want to participate in more exhibitions, especially solo ones and pop-ups, and I'm hoping to reach the international market.
How do you charge for your art?
Generally, the charges are determined by size, subject matter, and materials. For murals, most clients approach me with large-scale walls. My starting price is Ksh. 5,000 per square metre. I get the length and width and multiply by the unit price. Consultation fees start at Ksh.1,500. I introduce ideas to clients based on what they want accomplished. I submit a document with a complete breakdown of what I am charging. The smallest piece, a 10 by 10 cm painting , is Ksh. 2,500, and the largest can go up to Ksh. 150,000–200,000. The figures will change within a period of one to two years because the value of art increases with time.
How do you navigate the art industry?
I create a balance between working on my own and networking. I attend art exhibitions, talk to fellow artists about my work, engage my social media audience, and participate in exhibitions and residencies to keep my name circulating in the industry.
What are your favourite and least appealing parts of professional art?
The freedom to create what you want around a schedule that works for you. What I don’t like is the ignorance some people have about art. Sometimes people think that my job is just to paint houses or’ destroy walls’, and others don’t understand why I chose to be a professional painter especially as a female.
Do you have a network of artists that you rely on, and how do you support each other?
As an artist, you need to market yourself by networking. You need to join social media groups to know what opportunities to apply for and what exhibitions to participate in. For instance,I am part of a group called Kenya Visual Artists that has artists from all over the country among other artistic groups and I also subscribe to other art based platforms that post updates on opportunities.
How do you define art career success?
For me, success is listening to people talk about my work rather than doing it myself and having people feel the emotions I felt while creating it. I feel successful when my work communicates.
Describe your dream project.
I would always plan and tell myself, "I want to have this by this time," but I’d rather go with the flow. My goal right now is to make sure that my art has visibility across the world. I want to exhibit at Pyramid, a gallery in Lagos with a wider reach. I want to keep pushing my art to greater heights.
How do you stay motivated when facing these challenges?
I am lucky enough to have supportive family members who validate my work and remind me to take breaks. I like to engage in activities that I would not do on a normal day; it is like stepping out of the office. Cycling, reading, and spending time in nature replenish my creative juices. The fact that I have always wanted to be an artist motivates me to fight for it.
How has your work deepened a sense of personal growth or awareness?
Painting has been like a haven of expression for me. There are things I am only able to express on canvas with my brushes. I feel like I always have a conversation when I create. Dark colours can represent my sad moments, and vibrant ones represent my happy times.
What advice would you give an early-career artist?
Start creating and don’t stop. The best way to push yourself as an artist is to be consistent. Look for opportunities to get your work on display; that is how people start conversations about you and build interactions. Attend events, talk to fellow artists, ask questions, and get mentors. It is best to learn how to promote your work from an experienced artist. Regularly post on social media; produce reels if you have to. Lastly treat your work like an actual job, brand yourself professionally from how you present your work to how you display it. e.t.c
Tell us about your participation in the 5 Lenses Project.
The project has been amazing and challenging at the same time. I was used to having the freedom to paint around a theme of my choice, but this project involved producing work for four other themes selected by other artists. From discussions and meetings, I understood the themes better, and it challenged me to express them on a much deeper level.
Preparing for this exhibition has contributed to my personal growth because the themes are interrelated. It made me look within when working on them. My theme of choice delved into the aftermath of a mental health crisis and questioned what healing looks like. I hope the audience experiences the whole process, from how we came up with the themes to the pieces on the wall. I hope that they relate to the messages in our work.
What will your art look like after your 5Lenses experience?
I believe 5 Lenses has helped me spark a different level in my style by pushing me to experiment more. Each theme has challenged me to add a new aspect to my work that was not there before.
