Photographer Mutua Matheka during opening of his FRAGMENTS exhibition in Nairobi
Walk through Nairobi’s Junction Mall, and you’ll likely hear whispers about FRAGMENTS, the immersive exhibition by photographer Mutua Matheka that has captivated the city. Known for his breathtaking rooftop views, Matheka has transformed his signature skyscapes into a sensory experience that blends mirrors, light, and soundscapes, inviting visitors to step directly into his vision of Nairobi.
The exhibition, his first, has been years in the making. Originally conceived in 2019, FRAGMENTS is the culmination of Matheka’s passion for urban landscapes, which first ignited over a decade ago when he began capturing Nairobi’s cityscape from above. Despite numerous setbacks and the challenge of balancing his art with brand sponsorships, he has finally brought his vision to life.
Matheka began shooting Nairobi in 2010, but the idea for the exhibition came to him in 2019. “I wanted to do it in 2020, which obviously I couldn't. But it just kind of stayed with me. I edited a lot of the images in the exhibit in 2019 while trying to give a clear understanding of what all these reflections and kaleidoscope-style images mean,” Matheka tells OkayAfrica.
Photo byTapiwa and Ryan.
‘FRAGMENTS’ is the culmination of Mutua Matheka’s passion for urban landscapes, which first ignited over a decade ago when he began capturing Nairobi’s cityscape from above.
The aspiring architect-turned-photographer says that the reception for the exhibition, which runs till November 10, has been great so far. “The audience that I've served has also served me,” Matheka says. “It’s been amazing how they have taken the exhibition. [The audience] has owned it…People keep hyping it and bringing other people.”
In this interview, edited for length and clarity, Matheka discusses the years-long process of creating FRAGMENTS, staying true to his art, and the city he would like to photograph next.
OkayAfrica:You’ve taken all kinds of photography throughout your career. Why focus on skyscapes and Nairobi rooftops for your first exhibition?
Mutua Matheka: It's a subject matter that is dear to me and has been since 2010. My perspective of photography changed from the top of KICC (Kenya International Convention Centre) in 2010, when I was very new as a photographer, and I began to see Nairobi differently. I decided to shoot Nairobi, and that translated into a lot of my work. I think the reason I was so enamored by Nairobi and cities in general is my background as an architect. I love architecture. I love urbanity, buildings, and skyscrapers — the higher, the better. Of course, I hate the environmental impact they have, but I love to be wowed by the amazing design of tall skyscrapers.
Photo by Tapiwa and Ryan.
“It’s been amazing how they have taken the exhibition. [The audience] has owned it…People keep hyping it and bringing other people.” - Mutua Matheka.
Why did it take this long to bring the exhibition to life?
The timing was never right. There was a high chance of doing it in 2022. I got into some discussions with a brand, but those conversations fizzled because they wanted their product in the artwork. I don’t think that would have been a good idea for the exhibition. I already knew the kind of budget it would need, so I stayed waiting in the background for the right partners. I have many ideas that I am waiting to pull off.
How do you juggle staying true to your art and the demands of potential brands for funding?
That’s the hard part. Every day you have to ask, ‘Are we giving too much?’ But for me, if it interferes with the art itself, that’s a red flag. One of the ways this was possible in 2024 is that none of my partners wanted to interfere with the art. So that’s how I knew these were the right partners.
There are many partners we approach who struggle to understand what I am trying to do. Sometimes I feel like it’s an obvious partnership with some brands, but they don’t see it. But also, again, we’re in a country with a severe lack of imagination. Maybe the next goal is to find someone who's able to communicate these ideas in a way that these brands understand. I see simpler things that are less exciting get funding. It is not just about how good your idea is — it’s also how you can communicate it. And maybe, sometimes, I didn’t know how to communicate that idea. So it’s still a challenge. But we made it happen.
What have you learned from your rooftop view of Nairobi in the last 15 years?
The one thing that surprised me is that Nairobi is way greener than we even think. When you’re up there, you see just how many trees there are in places like Westlands, Kitisuru... But then you also see the disparities. Westlands, Kitisuru, Kilimani — lots of trees. Eastlands, no trees — buildings only. Being on rooftops, it becomes very clear that Nairobi is inequitable. Nairobi's design is done for the rich... the city is actually designed for people that rarely use the city the way it’s used.
Which other African city would you like to capture next?
I think I’m drawn to Cairo... capturing Cairo from above, having the Nile in there, having the expanse of the desert behind — it would be so cool. But at the same time, I feel like West African cities, especially the old cities, would be fascinating. Cities with a history that you can still see in place.
What do you say to artists who will come see your work and be inspired by it?
I think one thing that I've always advocated is that artists must endeavor, above all else, to fully be themselves and to do the art that they care most about. I also realize how idealistic this is, because sometimes what you care about the most is not what sells the most. I've been shooting these images for 15 years. They were not always popular. This success is a testament to the fact that I've done this for so long and finally showed it. It's an effect of me staying on the path for so long, even when it wasn't successful. I stayed the course because it's a subject I truly enjoy shooting. Finally, other people get to be in on the vision. Be consistent with the thing that you care about.