In conversation : Nedia WERE and the beauty of Afro-Optimism
Born in 1989 in Kenya, Nedia Were is a self-taught contemporary visual artist whose oeuvre defies traditional conventions, probing the multifarious complexities of African and Afro-diasporic identity through a masterful deployment of black pigment. Drawing from the lush, tropical landscapes of his upbringing, his work fosters an evocative dialogue that seeks to reframe and elevate the narrative of Black culture. Through the lens of Afro-optimism, Were offers a poetic reflection on the beauty and boundless potential embedded within his heritage.
Nedia WERE, Credit : Paragon Timelapse
In this interview, and within the context of Black History Month, Nedia articulates the profound undercurrents of his artistic journey—one that serves as both a personal exploration and a broader cultural statement. Laden with meaning, his work is a clarion call for a future defined by pride, strength, and an unshakable connection to one's roots.
Maria YIGOUTI : How do you describe your artistic journey, from your early influences to where you are now?
Nedia WERE : I grew up with my grandparents, both educators. My grandfather, an art and craft teacher, would come home every evening with school projects. One that stands out in my memory is a class chart depicting human body parts, along with a newspaper. Watching him sketch the figures filled me with a deep sense of joy—one that has stayed with me to this day. That was my first encounter with the human form as a subject in art. As I entered my teenage years, I began taking on sign-writing gigs—painting business names on-premises to earn some money. It was a job that, in many ways, laid the foundation for my future work. At the time, people would often ask me if I could draw their portraits, and although it felt a bit daunting, I decided to give it a try. I turned to YouTube and learned the grid method, which helped me improve my skills and gain confidence.
When I moved to Nairobi, I started connecting with art students from universities, colleges, and art collectives. It was during this time that I began to notice an interesting reaction to my work: since I often used black in my lettering and other elements of my pieces, many of these students would ask me why I chose it. They’d been taught that black wasn’t a color to be used in painting. This question piqued my curiosity, prompting me to research the history of this pigment in art and why it was excluded from traditional palettes, even though it had always been part of my work.
“My work engages with the ongoing dialogue surrounding Black culture and representation by not only contributing to discussions on African identity but also exploring the theme of Afro-optimism. ”
It was through this exploration that I discovered Kerry James Marshall, an American painter whose work often incorporates black pigment to represent the human figure. His approach deeply resonated with me. Inspired by his work, I decided to experiment further with black pigment in my pieces. Before, I had often used multiple colors to depict my figures, but studying Marshall’s work shifted my perspective. Instead of just representing struggle, I started to explore how I could portray my figures in a more positive, empowering way. Kerry James Marshall became one of my greatest influences, much like how other artists are inspired by the likes of Vincent van Gogh, Paul Gauguin, Picasso, and many others. His work, and the journey it took me on, helped me rediscover the power of my voice as an artist.
Mshere Na Vana, Nedia WERE
Maria YIGOUTI : How do you ensure authenticity remains at the core of your artistic process?
Nedia WERE : I ensure authenticity remains at the core of my artistic process by staying true to my path and constantly reminding myself of the reason I began this journey. This grounding gives me the confidence to keep painting and exploring the untold stories within our communities, regardless of external criticism.
Maria YIGOUTI : How do the gaze and poise of your figures reflect their character—do they invite, defy, or both?
Nedia WERE : The gaze in my figures is a focal point, inviting the audience to engage on a personal level and fostering an atmosphere for individual reflection.
Maria YIGOUTI : What compels you to capture your portraits within the gauzy veil of dusk, suspended in minimal lighting?
Nedia WERE : I find the moment just before darkness fully settles to be peaceful, allowing my figures to appear relaxed and almost reverent. Rather than adhering to a fixed color approach, I let curiosity guide me, allowing hues to emerge organically. This interplay of minimal lighting and dusk creates an atmosphere of quiet introspection, enhancing the emotional depth of my portraits.
The Serpent and the Fruit, Nedia WERE
Maria YIGOUTI : Does your floral iconography offer a reconceptualisation of Eden, and if so, how does it relate to notions of growth and selfhood?
Nedia WERE : Nature is a recurring motif in my work, deeply rooted in my upbringing in the lush, tropical western part of Kenya, which fostered my profound connection to plants. While my floral iconography does not explicitly seek to reconceptualize Eden, it serves as a symbolic space of transformation, adaptability, death, and rebirth. By placing my figures within these environments, I explore themes of spirituality, identity, and the interconnectedness between self and nature. In this way, my work reflects notions of growth and selfhood, emphasizing the ever-evolving relationship between individuals and their surroundings.
Maria YIGOUTI : How do you transmute black pigment into a luminous material, establishing an ethereal contrast that enhances the composition rather than grounding it?
Nedia WERE : My figures are not painted in plain black. Through experimentation, I discovered that black, like all colors, exists in a range of shades. By layering these variations, I create a contrast that lifts the figure from the dark background, producing a deliberate spotlight effect—something that is very much intentional in my work.
Maria YIGOUTI : How does your work contribute to or engage with the ongoing dialogue surrounding Black culture and representation?
Nedia WERE : My work engages with the ongoing dialogue surrounding Black culture and representation by not only contributing to discussions on African identity but also exploring the theme of Afro-optimism. It highlights visions of beauty, resilience, and boundless potential within African and Afro-diasporic cultures. Rather than centering struggles or neocolonial narratives, my work amplifies the richness of these experiences through stories of joy and innovation. For me, optimism is a forward-looking perspective—one that envisions a future driven by pride, beauty, and strength, rooted in a deep connection to our heritage and stories.
Maria YIGOUTI : How do you view your work as fostering individual growth while nurturing a sense of collective strength within the community?
Nedia WERE : I see my work as fostering individual growth by encouraging deep engagement with themes of joy, beauty, pride, and resilience—particularly for Black audiences, who often find their lived realities, desires, and complexities reflected in ways that are rarely encountered in mainstream contemporary spaces. This shift has led to a growing recognition from art institutions and communities, who are now paying greater attention to our stories and the diverse voices of Black artists. In turn, this visibility nurtures collective strength by creating powerful visual narratives that affirm and celebrate Black identities and experiences.
Nedia Were is presently immersed in the creation of a new body of work, which will be unveiled in a highly anticipated solo exhibition with dates to be confirmed.
Find the work of Nedia WERE on Mitochondria Gallery, Eclectica Gallery and on his personal spaces.
