Stepping into April Kamunde’s new exhibition, Fabric of Our Being, is like entering a peaceful retreat, where rest takes center stage, not as idleness but as intentional presence.
The show, which is ongoing at The African Arts Trust in Nairobi, explores themes of rest, solitude, and sensuality through figuration. Kamunde’s art features women at ease lying on grass, draped in Alindi fabric, reading with books covering their faces, basking in sunlight, or squatting in serene natural settings.
“The titles of these pieces show the personalities of the sitters. They are women I know, and that felt like a collaboration,” April explains. Some of the works include evocative titles such as Pausing is Also an Action and Ota Jua Tuliza Roho; Even the Grounded Need Grounding.
For over two years, Kamunde has been painting African women in moments of calm, previously showcased in her ongoing series Rest: The Pursuit of Peace. Now, Fabric of Our Being expands that vision with multi-sensory elements, including fabric, video, and sound installations, all centered around the symbolic dera (also known as dirac).
One standout piece is Two Truths Can Exist at Once, a fabric installation showcasing two deras printed with opposing public opinions.
One side praises the garment’s comfort, modesty, and versatility, as pyjamas, aprons, and house dresses.
The other side highlights perceptions of the dera as a symbol of laziness, contrasting with its status as workwear for many women.
A powerful eight-minute video installation titled DIRAC. The Working Dress features Kamunde and other women performing household chores in deras, while a sound installation, I’ll Make Space for You, brings intimacy and nostalgia.
Created in collaboration with sound artist Mars Masai, the audio captures a warm conversation between April and her mother in a garden, layered with ambient chirping crickets and birds. A wall drawing of deras on a clothesline completes the scene.
“I didn’t want the exhibition to only be about paintings,” April says. “I wanted it to evoke various sensory experiences and for people to sit in the space a bit more.”
While her earlier work focused on the urgency of rest, Kamunde says her attention recently shifted to the garment itself and its nuanced role in society.
Her exploration led her to believe the dera originated in Somalia, inspiring a three-part homage series Ode to Somalia I, II, and IV. Later, she learned it hails from Yemen, where it’s worn as modest attire.
“At the Kenyan Coast, the same garment is seen as sensual, with women covering up around men,” she says. “In my home, it’s what I wear when doing house chores, and for others, it’s a symbol of rest.”
Her research unearthed diverse perspectives about the dera, beyond her immediate circle, and Fabric of Our Being seeks to capture these contradictions and affirm that women can exist comfortably within them.
“The exhibition describes the essence of the East African woman,” she reflects. “We navigate between extremes. I can climb the corporate ladder and still crave stillness. It’s about embracing the duality.”
Curated by Rosie Olang’ Odhiambo and Sharon Neema, the exhibition runs until August 2.
“The paintings make me feel like I know those moments,” Sharon says. “It’s like time stretches through rest. It’s fascinating how one fabric can carry so many meanings; it shows the garment’s flexibility.”