For Laura Adongo, who goes by the name Lora Arts, digital art is a safe space in which to experiment and make mistakes, eventually producing striking work. Using only a laptop, drawing tablet and digital pen, she brings colourful subjects in various settings to life, with themes including rest, urban life and mental health.
Laura loved drawing and painting before transitioning to digital art. Painting felt costly and did not give her enough room for mistakes, while digital art required fewer resources. It was her husband, an animator, who suggested she try it.
She began by teaching herself to draw celebrity portraits and random subjects on her laptop. Cartoon and realism followed, and she is now engaged in storytelling, digital prints and book illustrations, with plans to explore motion graphics and lyric videos.
Her medium opened the door to Germany-based Mona Vinci Gallery, where she works as a remote freelance artist. She notes that exhibitions for digital artists in Kenya are rare, but opportunities exist in merchandising, book illustration and motion comics.
“You can turn a digital art piece into prints people hang in homes or use as wallpaper. I have seen the music industry use lyric videos as illustrations,” she says.
Despite its rise, the medium faces barriers. Some people undermine digital art, claiming it is less authentic or easier because it is not physical, yet it can take hours to create.
“People often prefer social media filters or AI since they are cheaper,” she adds.
Another artist, Marcelline Akinyi, works in augmented reality (AR) and virtual reality (VR), areas with limited representation of African women. She ventured into the two mediums after a 2020 training with Black Rhino, a premier VR and AR company.
While she enjoys both, she prefers AR, which allows more people to engage with her creations; VR requires expensive Oculus headsets. She creates Instagram filters that layer audio and video over AR art, focusing on climate conservation and sustainability in Africa.
Last year, she exhibited her mixed augmented reality painting Thirsty Take at Goethe-Institut Nairobi, highlighting how AI consumes gallons of water. VR and AR art are immersive, making viewers feel part of the piece.
“AR and VR could be the next way we view content. I want African-centred stories. We do not see enough stories about Africans by Africans,” she says.
Currently, Black Rhino is one of the main funders of digital artists in Kenya. Marcelline says it is easier to fund work through external sources. She is working on a VR documentary and notes that the field is new and often misunderstood. She advises digital artists to consider comic books, which can evolve into films.
For Lynn Atieno, digital art’s appeal lies in its flexibility.
“I can experiment with styles, push boundaries, and undo and recreate endlessly. It feels freeing and allows growth,” she says.
She is excited to see digital art gradually carving out its own space in Kenya’s creative industry. Artists use digital tools to represent Kenyan culture and tell African stories.
Opportunities include freelance illustration, commissions, brand collaborations, animation and concept design. Platforms such as Instagram, ArtStation and Behance help artists showcase work internationally, leading to remote jobs and brand partnerships.
Challenges remain. Digital art is underappreciated in many circles because it is not physical, which makes pricing and fair compensation difficult. Access to resources such as drawing tablets, reliable internet and software subscriptions is limited. Visibility is also a challenge.
Standing out in a fast-moving digital space requires consistency and resilience, which can be difficult given these constraints.