Yusuf Mirumbe is mounting a solo exhibition in Minneapolis that showcases his “Mothers of Mathare” series, a collection of figure paintings that blend classical posture with a contemporary sensibility.
Exhibition highlights the artist’s evolving style
The show opens at the PhotoGallery on Chicago Avenue, featuring oil and acrylic works on watercolor paper. Mirumbe’s subjects are primarily women, rendered with a Renaissance‑like attention to form.
At the same time, Mirumbe is presenting “Things That Make Us” at the Nobody Owns Me Gallery in Kibera, a collaboration with Benjamin Ogada. Those paintings depict the violence of the Rwandan genocide, using stark reds and gritty textures to convey suffering.
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When asked about the sudden demand for his work, he credited a social media boost from Nairobi‑based entrepreneur Cherie Kihato. “She saw my work on Instagram and messaged me… they flooded my inbox and before I knew it, I had sold every single painting in my studio within two months,” he recounted.
The rapid sell‑out thrust him into a professional field he previously only dreamed of.
His background reflects a path from hardship to artistic recognition. A former student of Lenana School under the Equity Bank Wings to Fly programme, Mirumbe once aspired to attend Harvard. A disappointing B+ grade, however, redirected his focus toward drawing as a pastime, eventually leading him to the Alfajiri Street Kids Art program.
There, he learned to paint while teaching street children, and his first exhibition at Nairobi’s National Museum resulted in two sales—a milestone he described as “never been happier.” A mentor at Alfajiri emphasized that “whatever an artist felt in their heart should end up on the canvas,” a principle he continues to follow.
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In the middle of his career, the artist’s trajectory suggests a cautious optimism. If the current exposure continues, it could open doors to larger institutions, yet the pressure to maintain both the aesthetic quality of his “Mothers of Mathare” series and the urgency of his sociopolitical work may test his capacity to balance commercial success with artistic integrity.
While the Minneapolis exhibition focuses on beauty and hope, the Kibera show does not shy away from harsh realities. The blood‑stained canvases capture the anguish of civilians caught in conflict.
Outside the studio, Mirumbe remains grounded in his community. He still volunteers with the Alfajiri program, believing that art can serve both as a personal outlet and a tool for empowerment.
