THE LIGHT OF RESILIENCE

KUACHI GAI

In this powerful painting, Kuachi illustrates two hands struggling

within a tangled net, symbolising the despair and restriction felt by

many refugees in Kakuma after the withdrawal of international aid.

One hand, however, breaks free, holding a torch that radiates vibrant

beams of hope.

The torch represents resilience, self-reliance, and the power of inner

light in dark times. Through this work, Gai reminds us that while

external support has faded, the strength to rise must now come from

within.

10

POURING BOWLS

DEN MIN YANG

In this painting, Den remembers a happy time from his childhood,

which contrasts with his experience of life in a Kakuma Refugee

Camp. In camp, all bowls are made of plastic but in his childhood,

bowls were made of hardened mango skins and were brightly

decorated.

An especially exciting time for him as a child was when his mother

would mix milk and water in these lovely bowls and let him drink

the sweet liquid through a bamboo straw. The straw in the painting

is broken, being separated from family is one of the toughest

challenges for many refugees.

THE GOOD, THE BAD, AND THE VIOLENT

BIEM GAI

This emotionally charged painting by refugee artist Biem explores

the contrasting realities of life in Kakuma. On one hand, it reflects

the initial hope of finding shelter and safety. On the other, it reveals

the harsh consequences of dwindling aid, hunger, desperation, and

rising crime.

In the lower part of the artwork, a figure returning from the market

is ambushed by men wielding sticks, an unsettling reminder of the

everyday dangers faced by many. Biem challenges us to look

beyond the surface, and to see the complex and painful truths of

survival in the camp.

HELD

KUACHI GAI

The painting highlights the stark contrast between generations

living within the camp.

A young girl’s face is being held by the hands of an elder who is

coercively pushing her to take traditional roles and early marriage,

represented by the dark future on the right. In contrast, the bright,

vibrant colours on the other side reflect the girl’s dream of education

and her desire to live life on her own terms.

Through this piece, our male artist chose to convey the profound

struggle many young women in the camp face – the tension between

following traditions and the hope for freedom, education and self-

autonomy.

OLD & NEW

MWANGI

Mwangi first inspired Tara to start the workshops when she learned

how resourceful he was, pulling discarded t-shirts from the dump,

covering them in glue paste to harden them, and creating makeshift

canvases on which he painted vivid images of his homeland.

In this powerful triptych, Mwangi shares the tension between old

traditions and new realities. One panel recalls the warmth of stories

told around the fire, the second the dancing, freedom and the vibrant

spirit of Africa. In stark contrast, another shows the harsh realities

of life in the camp, highlighting the struggles and tensions

surrounding food aid.

BOY WITH CRUTCH AND BOWL

ARIKAMALI NZIKA

In this powerful and haunting image, a young disabled boy stands

alone in the desert, leaning on a crutch, holding an empty bowl. The

image captures both resilience and despair in a single moment. The

crutch symbolises the limited support refugees once received upon

arriving in Kakuma; the empty bowl speaks of what’s now missing.

As aid agencies withdraw, the future becomes increasingly

uncertain – leaving many, like this boy, caught between survival and

abandonment.

Caged

Artist: Razia Mohamadi

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

Despite it all

Artist:Marzia Mohamadi

Women’s International day workshop 26 in Kakuma Refugee camp

The night sky

Artist: Matenda Ziko

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

This is me

Artist: Menahils

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

Growth

Artist: Premises

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

The gift

Artist: Fatima

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

Freedom

Artist: Navgis

Women’s International day workshop 26 The Senga Gallery, Kakuma Refugee camp, Kenya

TEARS OF FIRE

BUTOTO ZAMU

This moving portrait tells the story of a young man far from home,

now living in Kakuma Refugee Camp. Driven by hope and

responsibility, he left his country to seek a better life, a life where

he could perhaps find work and send money back to support his

single mother.

In the painting, the mother’s face looms large, her eyes shedding

tears of fire, a powerful symbol of grief for her lost son and the pain

of separation. The young man is depicted collecting water from the

lake, (representing Kakuma camp) an act of love and care, as he

attempts to soothe and wash away his mother’s tears.

Amidst the harshness of the arid desert landscape, two resilient trees

rise, symbols of hope, endurance, and the possibility of renewal

even in the most challenging circumstances.

GIRL WITH A CHEETAH

MARIAMU BYADUNIA

Mariamu is a young woman who arrived at Kakuma Refugee Camp

entirely on her own. Overwhelmed by loneliness and uncertainty,

she found comfort and strength through her bond with the animals

in the camp.

This accomplished artwork portrays a child and her protector

animal, symbolising the deep connection and sense of safety

Mariamu discovered in an unpredictable and often frightening

world. Through her art, she expresses how this bond with the camp

animals helped her rebuild a feeling of protection, trust and

belonging.

PRAY

MARIAMU BYADUNIA

Drawn by Mariamu, a Grade 8 student, this poignant image captures

a child in tears, eyes lifted in prayer, imagining a full plate of food.

It powerfully reflects the daily struggle faced by many refugees in

Kakuma, especially since the devastating cuts to food aid. In just

one simple drawing, Mariamu speaks for thousands of hungry

voices hoping for a miracle

CHAINED

MIKE NYOK

In this striking pencil drawing, the artist reflects on a tragic chapter

from his life before arriving in Kakuma.

A man from his village was wrongfully imprisoned, accused of a

crime he did not commit. As the family’s sole provider, his absence

left his wife in desperate poverty, unable to feed their children. The

result was heartbreaking, her children became severely

malnourished, their lives marked by suffering and uncertainty.

Through this piece, the artist captures not only his personal grief but

also the devastating ripple effects of injustice upon families and

communities.

DESPERATION IN THE DESERT

MIKE NYOK

In the foreground of this powerful painting a young man stands in a

rubbish pit, crying out in despair. He is starving and lost, with no

clear way to earn money for food. Nearby, a young boy labours in

the desert heat, pushing a heavy cart. Time is money. Both figures

are trapped in a harsh present. Yet in the distance, a city rises hinting

at work, opportunity, and a better future though that future feels

impossibly far away. The only hope is to earn enough to break free

from camp and move to Nairobi, two days away by bus. In doing so

though they would lose their refugee status – protection and any aid

they might be allowed.

FOOD RATIONS

DAU CHOL

Brought to the camp as an orphaned baby after losing his leg in his

war-torn country, our disabled artist chose to capture the endless,

wearying process of collecting food rations from the World Food

Programme. Painted before USAID withdrew its support and before

refugees were placed into strict categories of need, it speaks to the

patience, endurance, and quiet dignity of those who wait in line, day

after day. Today, many live without work and without food, their

aid withdrawn.

TREE OF HOPE

SYMPHORIUM SABITI

In this bright and hopeful painting, the artist envisions his journey

toward a brighter tomorrow. A sturdy bridge stretches across a wide,

challenging river – symbolising the safe passage through obstacles

that might otherwise hold him back.

On the far side, the thriving tree represents new growth, fresh

opportunities, and the promise of a strong and vibrant life beyond

hardship. Through this work, he shares his belief in resilience, hope,

and the possibility of transformation.

CIRCUMCISION

MWANGI

This painting by Mwangi (52) reflects the old tribal tradition of face

marking, a practice that still persists within the camp. Elders from

certain tribes continue to uphold these customs, often carrying them

out when children are very young, an age when they are especially

vulnerable to pain, trauma, and serious infection.

The horn is traditionally blown to tell the community it is time for

circumcision, or tribal markings to be performed. The herbs are used

to prevent infection.

Through this work, Mwangi voices his belief that it is time to let go

of such practices. His art serves both as a record of a tradition and

as a call for change, urging the community to move toward safer,

healthier ways of preserving cultural identity.

SCARCITY

YIEN DAK

In this bleak and haunting painting, the arid landscape stretches

endlessly, devoid of life or growth. In the foreground, a lone figure

weeps, there is simply nothing to eat. Beside them, two buckets tell

their own story: the water can is sealed with a heavy lock, the other

weighed down by a large stone to prevent anyone from taking the

precious contents.

This stark imagery reflects the harsh reality in Kakuma since cuts,

where every grain must be guarded, every drop of water

safeguarded, a daily struggle for survival in a place where hunger is constant.

THE GOLDEN SHOES

SABIR ADAM ALI

This powerful painting tells a story of a father sending his son to

Kakuma to try to find work and send money back to the family. The

father lowers his boy down into a pit with the hope that he will

collect the golden shoes, a sign of status, wealth, and opportunity.

But once inside, the child sees the black apples, representing

temptation and destruction. Instead of reaching for the shoes, the

boy cuts the rope, so he no longer has to return to his father.

The shoes remain untouched, a reminder of the dreams the father

had for his son, while the black apples symbolise the lure of drugs

within Kakuma, something that ruins the lives of so many young

people in the camp.

WATER

MALOK GARANG

In this tender and understated painting, two children share a simple

yet profound act of kindness. The oldest child gently helps the

younger to drink from the bottle. Water is something so easily taken

for granted elsewhere and is growing scarce within the camp. Much

of the water is not clean spreading the risk of Typhoid. Some

refugees are digging into the dirt to find water.

This quiet moment captures both the urgency of the shortage and

the enduring spirit of care that exists among those who have little.

In the face of hardship, compassion still flows.

LIFE IS HARSH

SABIR ADAM ALI

In this striking yellow painting, Sabir captures the parched,

unforgiving desert landscape of the Kakuma region. Cattle,

weakened and starving, search for food among withered plants,

victims of a relentless drought. The cattle serve as a powerful

metaphor for the refugees themselves. Since the withdrawal of

humanitarian aid, life in Kakuma has become unbearably harsh.

There is not enough water, not enough food, and little hope of

support from the outside world.

RESPECT ALL LIFE

USHINDI SETH

This painting was inspired by a story the artist remembers being told

as a child. In the 1960’s a priest came to his village, a kind man

who, like others there, would have need to hunt for food. Just before

taking a shot, he would always pause to kneel down and pray. It was

both an offering of gratitude and also a chance for the deer to escape.

The story told to Ushindi as a young child resonated deeply. The

small act of respect stayed in his heart, shaping his values and

approach to life.

Artist:Marzia Mohamadi

Marzia lives in The Kalobeyei Integrated Settlement a refugee and host community settlement in Turkan West, Kenya. Established in 2015 to alleviate congestion in  the nearby Kakuma Refugee camp.

Artist:Marzia Mohamadi

Marzia lives in The Kalobeyei Integrated Settlement a refugee and host community settlement in Turkan West, Kenya. Established in 2015 to alleviate congestion in  the nearby Kakuma Refugee camp.

THE RESILIENCE OF YOUTH

MANHIAL TENDO

The painting tells the story of a young girl with child, who has

become a mother far too soon. On her back she holds her baby,

whilst also reading a book, symbolising her determination to

continue her education despite the challenges of raising a child

alone.

In the foreground, a young boy searches through discarded rubbish

for plastic bottles to sell, a harsh reality for many in the camp where

survival often depends on the smallest of earnings. Together, these

two figures reflect the resilience and quiet courage of children

forced to grow up far too quickly.

28

MISSING HOME

KUR CHOL MALWAL

This simple drawing carries so much heart and loss. It shows the

beautiful village life our young artist once had, before being forced

to leave. The first hut on the left was his family home. He has drawn

the vegetable garden where his family grew their food, and the lake

that provided water. Behind the mountains stand watch, almost as if

they are protecting the scene.

This painting is not in The Senga Gallery at the moment as it hangs

in the compound of one of Hubert’s team members, who also came

from that same village. He asked to be guardian of the painting, as

it reminds him of his own happy childhood growing up there. The

power of one painting.

SEEKING BOTTLES

MARIAMU BYADUNIA

Mariamu painted a poignant and unflinchingly realistic scene of

young children in the camp, many of them orphans, risking their

health each day to walk, often barefoot, across the rubbish dump in

search of plastic bottles to sell. In the corner, you can see the

weighing scale where their finds are measured. The few Kenyan

shillings they earn might be just enough to bring a little food home

for their families. Every step comes with danger, and risk as snakes,

and fatal scorpions hide among the rubbish.

A DAY IN THE LIFE

DANIEL BUTOTO

This painting captures the urgent reality currently unfolding in the

camp. The severe shortage of food and clean water weighs heavily

on the community. Young children reach out with empty bowls,

silently pleading for nourishment. A mother carries her child while

taking buckets to collect water from taps that are often dry, showing

the relentless daily search for this precious resource.

The moment of relief when a helping hand arrives, is a rare and vital

blessing. These simple acts, feeding and watering, are the

foundation of survival in a camp that often feels forgotten amid a

world distracted by other crises.

HARDSHIP AND RESILIENCE

JOEL DACOSTA

In this moving piece, Joel portrays a mother cradling her baby while

working the dry, unforgiving land, an image of quiet strength and

relentless determination. With the father away searching for work,

and vital aid now withdrawn, survival in Kakuma has become a

daily battle. Through this image, Dacosta honours the resilience of

refugees who, despite immense hardship, continue to endure and

provide for their families as much as they can with dignity and

courage.

A BETTER LIFE

DANIEL BUTOTO

Daniel chose to depict his journey to Kalobeyei Camp, next door to

Kakuma. He was forced to leave his country because of famine. In

his painting, he shows the courage it takes for refugees to make that

heart-wrenching decision, to leave everything they know, and

sometimes even family members, behind. Many travel for miles,

even with disabilities, in search of safety. The figure in the

foreground is too distraught to leave, having just buried their child.

On the left, refugees arrive at Kalobeyei Settlement carrying with

them the fragile hope of a better life.

A HELPING HAND

PASCAL PLACIDE

In this powerful painting, Pascal Placide portrays one refugee

reaching out to lift another from the ground a simple yet profound

act of solidarity. As international aid fades, the message is clear: in

Kakuma, survival now depends on refugees helping one another

through every challenge. The painting is a quiet tribute to resilience,

unity, and human compassion in the face of hardship.

TEARS

MATENDO ZIKA

A single mother in the Kakuma Refugee Camp, draws of hardship

and hope. Two women’s faces, streaked with tears, emerge from the

emptiness of a barren desert, a place where survival is a daily

struggle. The first, positioned above, is Matendo herself. Her tears

flow from the pain of not being able to feed her children. Since the

withdrawal of USAID, a new food distribution system has divided

the camp’s residents into categories. Under her allocation, the food

is never enough. Below a second woman, depicted with only one

eye, stands for the disabled people of Kakuma, those who face the

challenges, but with added obstacles. Her tears are for the empty

plates, for the constant shortages, and for the absence of vital

hospital care in a place where even basic medical needs can mean

life or death. The bird is a sign of hope and wishful longing.

WAIT IN LINE

DANIEL BUTOTO

This painting reflects the monthly endurance refugees faced to

collect rations from the World Food Programme. It meant rising

before dawn and standing in line for hours, only to risk the supplies

running out before reaching the front. The wait was made harder by

the presence of Kenyan police, who patrolled the queues and

sometimes struck people without cause. It was a day no one looked

forward to – yet they had to endure it. Month after month, they

stood, and waited in line because survival depended on it

TEMPTATION

MIKE NYOK

This drawing is difficult to look at, and that is the point. It confronts

a growing crisis in the camp, particularly among young men who

turn to drugs as a way to cope. A looming black murk dominates the

tree, symbolising the dark and uncertain future that awaits and how

many young people are physically, mentally and spiritually

destroying themselves. In the top corner, a small village hints at the

life many refugees once knew, and the stark contrast of how things

might have been.

A MOTHER’S LOVE

RIZIKI

This picture was drawn by a young girl with four sisters living in Kakuma. Her mother, raising them alone, risks

her life every morning before sunrise to collect firewood from the river outside the camp, wood she needs to

cook for her daughters. Local Kenyans want to sell the dry wood themselves, and do not welcome refugees

gathering it. Each trip to the river carries the risk of physical abuse or rape, many are killed.  The young artist

often worries about her mother’s safety, and sometimes accompanies her, sharing in both the fear, risk and

responsibility.

MARKET DAY

ANAN DAUD

One of Hubert’s team chose to paint her story. It tells of her life back home, where her mother, grandmother,

and aunt would pick ripe mangos from the trees, laying them out on bright, colourful sheets for people to buy.

She remembers the happy chatter of the women, the scent of fresh fruit, and herself playing nearby. It is a

treasured childhood memory, made bittersweet by the fact that she can no longer see her mother.

THE TYRANNY OF WATER

GABRIEL KAHAMBWE

This pencil drawing captures the harsh reality of water scarcity in

Camp and the wider desert region. In this arid land, rain often fails,

cattle perish, and clean water is increasingly hard to find. The

human cost is immense. In the drawing, a mother balances a water

can on her head and her baby on her hip, while a young child trails

behind, carrying their own heavy load. Every day, families like hers

must walk for miles under the relentless desert sun – just to fetch the

water they need to survive.

NEW LIFE

HUBERT SENGA

Hubert the founder of Generation Aid and co-founder of The Kakuma Art Project had not painted since school

but wanted to experience the art workshop as the participants do. On canvas, he captured the feeling of arriving

in a new land, filled with hope, and the bridge to a better future, a safe home, and a welcoming community.

In Kakuma, he has built that life: meeting his wife and celebrating the birth of their baby daughter.