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The big yellow-outlined figure dominating the left side reads clearly as the prophetess herself - head tipped back, one wide staring eye, hands raised and pressed together near her mouth in a gesture that could be prayer, silence, or a horn cupped to catch sound.
Her body opens downward into a kind of internal landscape: a car with a treble clef on its door, an orange cellular tangle, a black void at her feet, as if what she carries inside her is as much vision as flesh. The canvas splits into two contrasting zones around her: a blue upper-right dreamscape of coiling green vines, spirals, and a house-like structure with barred red windows (something enclosed, guarded, or under construction), against a red lower-right ground where a small green-roofed cottage sits calm and diminutive beside a curling yellow tendril and a cluster of pink bird-creatures.
The shift from blue to red across the canvas, with the prophetess anchoring the threshold between them, suggests she's positioned at the seam between two states, perhaps vision and consequence, or the seen and the spoken.
Born in 1974 in Mumias, western Kenya, Erick Sande trained as a graphic designer at The Kenya Polytechnic before turning to painting, exhibiting early work at the Kenya National Museum Gallery. A 1995 meeting with Ruth Schaffner, founder of Gallery Watatu, launched his career in Nairobi’s art community. His early work drew on Abaluyia tradition and myth; it has since broadened toward multiculturalism, patriotism, and the athleticism of Kenyans as a unifying national force. Working across media in a style of continual fusion & experimentation, Sande has exhibited solo and in groups at multiple venues. His illustrations appear in the poetry collection Makonde by Joan Sikand. He lives & works in Nairobi.
