Nairobi on the Move : Meeting Thaddeus WAMUKOYA, also known as Thadde TEWA, Independent Curator and Founder of TewasArt & Patrons
In a city where art often serves status more than vision, gallerist Thaddeus challenges Nairobi’s collectors to think long-term, invest intentionally, and nurture East Africa’s creative future. There’s palpable passion, boldness, and joyful bluntness in Thadde’s words, the founder of the Nairobi-based gallery TewasArt & Patrons (2019). For the past nine years, the business owner and art advisor has been a constant force in Kenya’s capital, relentlessly staging shows and exhibitions, mostly featuring East African artists, with the same determination he had on day one. In this conversation with Mayì Arts, Tewa offers a candid glimpse into the East African art market, its challenges, and his vision for the future. Art is his vocation, though, in his own words, it’s a path he would not necessarily recommend, he assures, with a smile.
Thaddeus Wamukoya (Tewa), owner of TewasArt & Patrons gallery and TewasAfrica online platform
NAIROBI - In this interview, we meet with Thaddeus Wamukoya (Tewa), owner of TewasArt & Patrons gallery and TewasAfrica online platform, to discuss the state of the Nairobi art market as he is getting ready for his upcoming event, a contemporary art affair: emerging African voices aimed at mobilizing local support from local organizations and corporations, mainly to launch an artist residency program, an art award and physical space by 2026. A proud ambassador and trailblazer, Tewa takes us through his journey of almost a decade in the East African art market.
Ngalula MAFWATA : How would you describe the state of the art market in Nairobi today, and what patterns have you observed amongst collectors?
Thadde TEWA : In Nairobi, there are only a few serious art collectors who dedicate part of their resources to building collections. However, their approach is often driven more by hype than by long-term prospects. For instance, some financial institutions have recently begun acquiring art, but their purchases are guided largely by corporate policy. They tend to focus on established names, confident that these works will retain their value and can be resold at auction if needed. In my catalogues, the artists I represent are often at the beginning of their practice—less than five years in—but already exceptionally talented, with a natural gift, even if not yet fully established. Most of these corporate collectors in Nairobi know my platform; they do attend my shows or receive my catalogues, yet rarely make purchases. If you look at art as an investment, you need to have an eye for promising artists and start buying those who have potential to grow big in the next ten years.
Though enthusiastic all along our conversation, Tewa is adamant : as in several african cities, the main issues when it comes to the market and its economic expansion has more to do with its structuration and stakeholders than it has to do with the art itself as he shares his frustration :
“I believe what Nairobi lacks most is sufficient art patronage, particularly from corporations that hold the real financial power. Art patronage should extend beyond simply buying artworks—it should involve deeper engagement with the local scene and a commitment to supporting artists and key players with meaningful solutions.
At present, Nairobi has very few affordable art or exhibition spaces that independent curators like myself can rent, and even the existing studios often fall short of professional standards. What we urgently need are more art foundations and more public exhibition spaces, ideally supported by leading corporations such as Safaricom and financial institutions. While there is clear interest and some effort, investment in the arts remains limited. With strategic support from these major players, the dream of establishing an internationally recognised art fair in Nairobi could truly become a reality.
As an independent curator, I’ve relied on a small circle of collectors in Nairobi, Mombasa, Zanzibar, the USA, and France. However, this alone is not enough. I’ve reached a stage where sustainability has become critical. The pressing question is: how do we sustain this vision beyond art sales, which have declined significantly in recent years? This is why I am hosting my upcoming event, A Contemporary Art Affair: Emerging African Voices, on 30th August at Trademark Hotel. The goal is to attract the right corporate audience and spark a meaningful conversation about the future of contemporary African art.”
Ngalula MAFWATA : How can the Nairobi art ecosystem develop a culture of intentional patronage and long-term investment, where collectors and institutions support artists’ infrastructure and growth rather than focusing solely on short-term returns?
Thadde TEWA : I have been advocating for the existing collectors to be more intentional in supporting investment. When you look at stronger markets in West Africa, such as Lagos, there is a culture of strong art patronage, with collectors investing in infrastructures that we still lack in Nairobi. Many artists here do not have proper studios and are often forced to work from home. If collectors and even financial institutions were more deliberate about channeling money into noble initiatives that truly support artists, the ecosystem would be much stronger. At the moment, there is a significant disconnect between patronage, collecting, and investment. Too often, collectors do invest in art while eyeing the secondary market, rather than long-term support. In my view, this short-term vision prevents the possibility of genuinely growing the market. For example, I’ve been curating exhibitions in a commercial mall space. While the owners recognize my contribution, they continue to demand more from me and the artists I showcase, even though we are barely making enough. At the same time, there is little interest in engaging with me on how they could position their mall internationally by investing in contemporary art.
The main reason I continue to exhibit there is convenience : the space provides access to expatriates and tourists, who remain the biggest consumers of contemporary art. However, if corporations were more intentional about investing in the local contemporary art scene, for instance, by establishing an art foundation or dedicated art space within their complexes, and by actively promoting events, we would see a real impact. At the moment, however, we are left to manage on our own.
“I have been advocating for the existing collectors to be more intentional in supporting investment. When you look at stronger markets in West Africa, such as Lagos, there is a culture of strong art patronage, with collectors investing in infrastructures that we still lack in Nairobi.”
Growing a business in a market in survival mode.
Ngalula MAFWATA : Without any support as you mention, who is making this market work ?
Thadde TEWA : Nairobi art scene works on survival and support from a few independent collectors/institutions. And survival mode is a very dangerous place to be. When I make a sale with, for example, a 35% commission, that money goes straight into covering expenses—space rent, my transport to the exhibition, my assistant’s fees, the DHL bill, and customs clearance when shipping works from international artists. At the end of the process, I keep at most 10% or nothing for myself. It’s ongoing; there is never really a day when I can say, I’ve made money, let’s go on holiday. And if I ever do, it’s probably due to my other job in consulting. Eighty percent of what I earn from an exhibition goes directly back into the production budget for my next show. In a healthier market, this shouldn’t be the case. In other industries, like music, there is a culture of sponsorships and financial backing, something we don’t really have in the art world here.
During the conversation, the question of drive naturally arises: what keeps animating Tewa to push forward with little to no external support? He is fully aware of the hardships and never shies away from addressing them. In fact, he often cautions those who express interest in entering the art world as dealers or curators, reminding them of the challenges that come with the territory.
“People often wonder why I support emerging artists at my own expense. Everyone who comes to my exhibitions, saying they want to be a curator or open a gallery, they usually look at it as a money-making move. I tell them: if you have money you want to invest, don’t put it into a gallery, instead begin an art collection —because, honestly, it doesn’t generate money. You really have to be passionate about it. Maybe it’s an investment that will only materialise in ten years. Art dealers and curators put in a lot of work to generate sales for artists, though this isn’t always visible to them. Don’t think of me as someone making sacrifices for artists—sometimes they see it as if they are helping me, but in reality, we need each other for the business to survive. The truth is, there can be tension between artists, galleries, and curators in Nairobi, mostly because of the expectations placed on dealers to guarantee sales. Sometimes, when I organize an exhibition and nothing sells, artists will come back to collect their works, feeling disappointed. Others don’t even bother to pick them up, as if they still expect me to tell them their pieces have been sold.”
“Everyone who comes to my exhibitions, saying they want to be a curator or open a gallery, they usually look at it as a money-making move. I tell them: if you have money you want to invest, don’t put it into a gallery, instead begin an art collection —because, honestly, it doesn’t generate money.”
Exclusive or not ?
Exclusivity is a hushed topic in the art world, one that sparks a wide range of opinions among professionals. Some view it as limiting, while others see it as a necessary step in shaping an artist’s career. According to Tewa, when used strategically, exclusivity can serve as a powerful lever to expand an artist’s creativity.
“Most galleries in Nairobi push for exclusivity to artists in order to control the prices or market share. Exclusivity for me works, but it depends on the level of the artist and the amount of resources at stake. For example, established artists who have already made a name for themselves and with higher price range, in order to control their prices and make their work easier, they might need a better representation deal, meaning working galleries willing to handle shipping expenses but also clearance and rent, all these expenses from that they can have a big share in sales. In that scenario, exclusivity makes sense rather than working with three to four galleries. An artist like Kaloki Nyamai, with his level of practice and schedule, can’t sustain himself to do all the art fairs. This requires lots of resources so going exclusive with a bigger gallery makes sense and allows him to have the peace of mind to focus on his production. Exclusivity works in the case of an artist with an existing market.
Nairobi is different. It has a lot of gatekeeping; there are some galleries controlling artists, treating them as property, implying no concurrence. However, if you want to treat an artist as property, then there has to be serious support and resources at their disposal. I realised here it is all about control, and when you start talking about serious investments in the artist’s career, there is no one anymore.”
TewasArt Gallery
Ngalula MAFWATA : What about debuting artists ?
Thadde TEWA : On the other hand, for an artist getting started, I recommend them to work with different galleries and curators not only abroad but also locally, grow a brand and name, and sell online or through other platforms. I would not recommend starting with exclusivity. Galleries end up stranding them along, not really investing in their projects. If lucky, some have one solo show in a year in which they can make money, but then they are back in the normal place. In my opinion, it is a strategy for galleries to make more. If a gallery keeps ten artists in exclusivity at the end, they still make more money than the artists. If galleries looked at relationships with artists as organic things would work better. However, most galleries here are one-sided and put artists in exploitative contracts; artists have lots of expectations to invest money in their crafts.
Take the chance, lose the opportunity
Ngalula MAFWATA : Shall we go back in time, how did you step into the art world, was it a vocation ?
Thadde TEWA : Originally, I never saw myself as a gallerist or dealer. I grew up in western Kenya, eight to ten hours' drive from Nairobi, in a semi-rural town with no art background. Galleries and selling art felt very remote. I came to Nairobi on a government-sponsored program to study psychology, sociology, and public relations, but survival came first. I had to work to pay rent, splitting my time between classes and small jobs, including helping at a friend’s graphic design studio. I started by volunteering in artists’ studios, which led me to galleries. While still in school, I pitched a kids’ workshop to one of the galleries I had visited, and soon after was hired as a gallery assistant. Within three months, I boosted sales and attracted more artists, eventually being offered a full-time role. Balancing this with university became impossible. I had to call myself for a meeting and ask myself what do I want to do. After that meeting I decided I wanted to be in the art business. I left university and decided to commit to art. This was my chance to grow my network, learn on the spot, read extensively about art, and apply ideas in practice. I stayed for three years, rising from gallery assistant to manager. I noticed colonial tendencies in the market—collectors, mostly British settlers, favored established artists and conservative curation. I wanted to explore beyond that.
Over his first years in business, Thadde starts to grow a reputation, trading for regular collectors and gaining recognition among his peers, even selling to the then First Lady of the country, Margaret Kenyatta. His wit and natural enthusiasm makes him grow connections with collectors and more artists. It is not long before that he starts thinking about his next move.
“The whole art business is based on trust”
Ngalula MAFWATA : How were the beginnings of your business ?
Thadde TEWA : I launched TewasArt & Patrons in March 2019 with no financial back up. When I think about it, this was crazy. My former boss took it as an affront and I was almost blackballed. Nairobi has three main galleries who are well connected together and then few other ones more open-minded. During that time, my name came on the radar that I was starting a business, this was the first time someone of my profile was doing it. Some tried to make my work difficult, dissuading artists to work with me otherwise they would cut contracts. It was difficult to get artists to trust me with their paintings. However I am the type of person who takes challenges as an opportunity to grow. This pushed me in a place where I started to look at emerging artists not in the game yet instead. I would travel to Kampala, meet new artists, see the work and promote them in my catalogues. I managed to grow a niche of artists and reached a point where the artists who were afraid to get cancelled by working with me are the ones looking for me now.
Thaddeus Wamukoya (Tewa), owner of TewasArt & Patrons gallery and TewasAfrica online platform
Ngalula MAFWATA : What are your next step to grow visibility on your market ?
Thadde TEWA : While working for people and then myself, I have learned that Nairobi as a market has a lot of potential but there is a need to educate audiences on the importance of patronage and supporting existing initiatives. Nairobians have considerable resources, but it’s a matter of priorities. They readily invest in houses, cars, and swimming pools, yet often draw the line when it comes to art. I want to serve as an example to my peers in the arts and beyond, showing that change starts with individual decisions. I aim to shift the narrative around how African artists are treated in these spaces. It’s risky, as it often means being constantly busy, online nonstop, promoting and urging people to engage with artists. I used to think no one was following what I do, until I started doing shows and receiving feedback on the stories I publish. It took me two to three years to realize that people were actually paying attention.
On Shifting Perspectives and representation
Ngalula MAFWATA : How do you see your role as a new-generation art dealer in Nairobi?
Thadde TEWA : There was a time when I was delivering paintings myself when a client said, ‘Pass my regards to Tewa,’ and I replied, ‘I am Tewa.’ The shock on their face was unforgettable, they had assumed I was a white man in his fifties, as most dealers in Nairobi are perceived to be. It reminded me that I represent a new generation of dealers: The new dealers are dynamic, open minded and embrace technology to create platforms where artists can speak openly about their challenges, something rare in Nairobi. Artists rarely discuss contracts, finances, or struggles; they put on a brave face, acting like superheroes. I have an interesting relationship with various artists collectives like seven artists whom I've collaborated and supported previously. Whenever we meet we can discuss anything without filters. Creating spaces like this can serve as a form of therapy, helping artists share what they often keep hidden. There is a misconception that a local curator like me would not be able to run a gallery like a white person would do. This is due to the rampant gatekeeping of the city. It is something, even established artists go with it as well. Maybe they had one bad experience with a local dealer and they use that information to put down any young dealer that is coming up to other curators. Where I am today, the story would be different, as I have gone through the danger zone already.
“The new dealers are dynamic, open minded and embrace technology to create platforms where artists can speak openly about their challenges, something rare in Nairobi. Artists rarely discuss contracts, finances, or struggles; they put on a brave face, acting like superheroes. ”
I see TewasArt Africa as a space for meaningful conversations, where artists can openly discuss what matters to them. I’m intentional about investing in more than just a commercial platform for selling work or handling auctions—I want artists to ask questions about commissions, where the money goes, and other real issues. Previous dealers in Nairobi often avoided these discussions or even returned all the works if too many questions were asked. To build a sustainable business and environment, it’s crucial to create a platform where these conversations can happen. There we can have real conversations about visa and access or even stranded artworks which is a big topic. I see this happening in stronger markets like West Africa, where art fairs host forums to openly discuss topics like racism, Black arts, and theory. In Nairobi, these conversations often remain whispered; few have the courage to address them publicly or name names. I have access to a lot of information from studios and collectors, which gives me confidence to push my narrative while promoting East African art on a global scale. Whatever I am doing has power and resonance.
TewasArt & Patrons gallery
Ngalula MAFWATA : What are some of the grey areas of Nairobi's art market that you see ?
Thadde TEWA : In Nairobi, the art scene is vibrant with art openings every two weeks but the market isn’t very active, we depend on international sales mosty. It takes months to realise art sales locally. I am looking at how to change the framework of artists representation and art agents to create accessibility to available works. Most work directly with galleries with no back up nor support. Educating artists on why it is important to have a deal with the gallery but also art advocate or agent and avoid contract challenges. I am not a saint. However, in some practices, artists are left at the mercy of a gallery’s sometimes empty promises. I am trying to understand the model better so I can invest in the future. There’s more that I offer to Nairobi. Whether or not I want to box myself in the title of curator, there are more responsibilities people like me do carry because the market is not yet at the level where we can say I am just a curator. It is never just one thing that you do.
Ngalula MAFWATA : Have you experienced some roadblocks along the way ?
Thadde TEWA : Most artists in Nairobi don't look at their art as an asset or collateral; they look at it as survival to solve their immediate issues such as bills and will take any upfront payment offered by galleries. My mission at hand with TewasArt & Patrons is to explain to artists for me to be able to sell your painting, I need at least six months. I will invest the first months in understanding the artist, where they are working, need challenges, painting story, background and will make a story. It has to be organic for it to work. If galleries look at relationships with artists as organic things would work better. However, most galleries here are one-sided and put artists in a contract; artists have lots of expectations to invest money in their crafts. Due to a lack of physical space and several constraints in the local art scene, I have found it easier to work with international artists, Ethiopians, Sudanese, and more than it is with Kenyan artists sometimes. They are hungry for the opportunity and understand the logic of investing together in an exhibition for example. Nevertheless, my publications and shows have spotlighted some Kenyan emerging artists who have ended up signing with the main galleries. Usually, when they sign with main galleries, it’s difficult to work with them, so it all has to do with the contracts.
Ngalula MAFWATA : You have been both strategic and intuitive in setting up your gallery and leveraging opportunities, how do you see your evolution in your journey ?
Thadde TEWA : Currently, I am focusing more on raising capital and building support. This involves being intentional about funding, creating international connections, and participating in art fairs. For instance, in 2021, I showcased some artists at an art fair in Miami. Due to travel and visa issues, I wasn’t able to attend, which caused me to miss certain opportunities and made it challenging to retrieve some of the artworks. Sending paintings abroad is risky, and artists don’t always fully appreciate the effort involved. For now, I am taking a step back from constant risk-taking to focus on building resources, so that when I do participate in a fair, I can be there. I want to be able to travel and introduce myself properly. It is always a good feeling to have that people recognize the value of your work and want to be a part of it. I’m also writing more about what I do, engaging with more patrons, and envisioning collaborations with people like you as well as with more artists.
Over the past few years, Tewa has become the go-to person for visitors from Africa and the West when in Nairobi, Lamu, or elsewhere in Kenya. While dynamic and forward-thinking, the young dealer also has observations about Nairobi’s art market, which is currently experiencing some stagnation.
“I have noticed that the gallery business often comes down to someone having the resources, buying art, and flipping prices. Yet, when it comes to the core values of running a gallery, many are detached from the artists themselves. As long as you want to argue that art is an extremely commercial business like selling real estate, it is not. It ends up being emotional. Even if you don’t have the resources, vision must carry you. Five years ago I would not imagine doing interviews and working with artists such as Wole Languju. For me this feels unbelievable. When someone tells me they are an art dealer, they are either privileged - not only with money but also socially having access to founders and institutions - or they bring value. Wole Languju made a correct observation to me recently saying, the African art market has been stagnant because of these institutions who do have the resources yet don’t invest them directly in meaningful or relevant projects. It feels more performative”.
Thaddeus Wamukoya (Tewa), owner of TewasArt & Patrons gallery and TewasAfrica online platform
Ngalula MAFWATA : What is your relationship with these institutions ?
Thadde TEWA : I have been approached and recommended by some of these institutions however I am yet to have positive feedback. In my opinion, they know who they are going to fund and take for their programs yet you need to apply. Whether I want to buy in the ideas of everyone I always have a meeting with me to remind myself why I am here, why I am doing this and am in these spaces. It is really easy to forget, especially when money comes into play. My business will stay organic and grow in that way, through alternative funding models. Though it is challenging and rewarding at the same time. The small wins remind me I am on the right track.
Despite numerous challenges and often silent struggles, where decisions may not feel right in the moment and doubt can linger, Tewa maintains a positive outlook on both his personal journey and the market, positioning himself as an ambassador and trailblazer from East Africa to the world.
Thadde TEWA : The East African art market carries high expectations, with artists from Ethiopia, Sudan, and Uganda often looking to Nairobi as a hub. The city has room for one or more art fairs to be established. Traditionally, the gallery model has been somewhat closed—sustaining a career often required working with specific dealers. Today, the market is more open, and artists can sell online, but the support system remains insufficient. My vision is to bring the right stakeholders together and launch more than one international standard art fair in the region. It can start small and grow over the years. Beyond that, there needs to be someone actively looking after these artists. The goal is always to stay ahead and build a system that genuinely supports creative talent.
Find out more about TewasArt & Patrons and their website .
