Now the second part of this show is about this gallery, better yet, this creative space, which is much like a canvas for all art forms, shifting your perception of what a gallery really is. Believe it or not, this is a gallery, shift-eye gallery, which is a multi-functional creative space that caters for all forms of art, from dance to music to fashion and of course art. Tell me about shift-eye gallery, because you run the gallery. It's very young. I love how this whole installation is run by very young team. Yeah. How is it run the gallery? It's actually a lot of fun, meeting new artists, interacting with different creatives around Kenya. Nice. Yeah. And this is a different kind of gallery, not your regular, just art pieces, but you have events, you're more than just a gallery. Yeah, something about that. Basically we wanted to look for a way to bring Nairobi's creative people together. So we had an idea of instead of just having a gallery, having a creative space as well. So you can come here and have a conference, have a party, whatever event you want to have. You're kidding me. Whatever event. What's up, I have a birthday next weekend and decide I want to use this space. Come through. All right, tell me about this very interesting installation we have here. Okay, that's quite pretty. This here is Tante Shad's woven around the brass. It was done by Kattingu Lumwanda. It represents the bark of a tree. And everything on the ceiling represents the fruits and the flowers that come from trees. So in the olden days, kids would sit around a tree and would be told stories by their grandparents and they would get inspired and taught, educated. That's what we wanted to do here at Shifte Gallery. Yeah. So that is a vision of Shifte. That is a vision of Shifte. Thank you. Yeah. And what events are you having, Kaniki? At the moment, we have a lot of art exhibitions. This is your first, yeah? Yes, this is our first art exhibition of the year. Nice. We're having a few conferences coming up. We're having an offer next week for running for two weeks where you can have any one day event here at discounted rate. Yeah. Isn't this it? Yes. And how old are you again? We're four months old now. Can you imagine? Can you imagine this is gorgeous. Thank you so much. Thank you. Now, stop the rest of the team. OK. And appreciate it. Thank you. The Shifte team, save the intention of this space, is to give creative practitioners a platform to interact. But above all, a space that welcomes all to learn, engage and be inspired. Zachary Saitoti is a man behind this space. He studied photography in university, but started Shiftei photography in his teens, which has now birthed a whole art space. The name Shiftei, began when I was in university. And I was around a lot of DJs and break dancers. And everyone had this different alias. And I thought, you know, well, why not do that for art? Or something artistic? And so basically, I started doing photography when I was in high school and came to uni. And then being around those people, I started to own a different alias, to be associated with my photography. So, I'm getting the Shiftei. Essentially, you mean it's like a different point of view. Nothing is ever what it seems. It's like, you see something, but there's always something else to it that needs the eye. Pictures, very... I like how it meets a simple background with the Shiftei title back there. But it's so powerful. I don't know if it's the posing and the editing after almost looks like a painting to have much experimental pieces. Or the experimental stuff. It's a combination of both the photography and the post-production. I started off with this photography then. I did a degree in graph design. I don't know how to do a degree in photography. So, I mean, it's a combination of the photography and all about the lighting and everything combining that and then afterwards, you know, the post-production. It's like for every hour I spend doing a photo shoot, I spend two hours in post-production. Yeah, it's just like... It's a combination, but the thing is, I don't like making them look too much as I've worked them too much, too much post-production. I like to make them look different and edgy and strange, but nothing like, you know, like for example, when it comes to fashion photography, you know, when it's moving out of the skin, I hate that look of plastic. There's a lot of photographers seem to kind of go full. So, you don't want your model looking perfect? No, no, no. I mean, perfection with light is an imperfection. So, in the day, you need to have those imperfections to make it look more natural, more real. Tell me how this started the gallery. The gallery basically started as I had an idea... I think when I was in university, I mean, it's something I toured around with. It's actually because I did a lot of exhibitions at the time and also after the university, they've got a exhibition and it's just... The more on the stress of finding a place, the cost of printing and everything, all the different things, it's just like sort of causing too much. And I didn't have stuff selling at the time. So, it's like, well, it'd be really nice to when they have a place where, essentially all I'm paying is for prints, framing, done. My stuff is up in the world to see. Yeah, good to go. But it was a selfish idea initially. And then finally, it was like, actually, you know what, be good for me to have them, but the same thing, be good to have a space where, you know, other artists of other mediums can come and show the case, showcase that stuff. And then also it's like a place where people can come and appreciate the art and just mingle and get to know one another and network and just basically try to make the art seem bigger than it is. And again, another story of a first-rated artist just wanting to share his craft. But the lack of means led to him making the decision to open up his own space and share it with other like minds. But why at a time when we know some other galleries that are closed shop from Gali, we're tied to Turamoma, and then here's a bunch of very young people who are brave enough to say, we're gonna try, let's see how this goes. What give you that, I guess, push to do this? I mean, I just, I know quite a few galleries are closed down. Yeah. I was good worried about that, but I just believe, I just believe I was gonna try really hard with this thing and I just wasn't gonna accept failures and option. It's like trying to open up his place and closing down. Let's find out where he closed down. Let's try not to do what they've done and learn from the mistakes and see if we can, just go forward and hopefully not close down. Okay. Let's start and see how he goes. Yeah, exactly. And I believe in this place. I love this space. I think that, I think we can do something really good. I think we'll be going for quite a while. Well, now you know the genesis of Shifteye, time to talk to the man who put it all together, the architect Val Moli. So I was working with a very curvilinear space and the challenge is that sort of a rose were three major columns and support all the flaws that are above me. Okay. And currently you probably did an interview and you spoke about one of the columns. Mm-hmm. The rest of the columns actually hidden in the space within the different rooms that we'll show you. So with that said, we came up with a concept still looking at the brand. The brand being Shifteye had to take on sort of the guidance of the director or the concept was going to come from. Okay. So that is very simply splitting this piece into public and private. So where we stand in the first and foremost is a very public space. Yes. The rest of this is sort of like the brain-formed Shifteye and that continues with that. So we split the space almost smack in the middle. We chose to have a million materials that you could say happen. Kibera as well as Runa. So we have Mabati. We have a very rustic floor and we have wood. These are elements that are found in most of any part of the library. Nice. So it has familiar to a lot of people. It doesn't feel like the space is somewhat imposing on you. It's not a neat space. It's art. There you go, good point. Because most people feel like going to an art gallery is for the elite. Even art, just being an artist is for the elite. To those at home, what was you told them about art? And in art space, this art space. Art is usually self-interpreting. Like many things around us, we sort of oversee the art and anything. We sort of look for a language that is overly complex. And the simplicity of the joy of art is how simple it can be no matter how you celebrate it. So with space like this, creating and designing such a library, it had to be a canvas. So it had to sit as a canvas. But one that is framed to the degree where you have simple, simple boundaries as to where you can go. For instance, painting on a wall. But OK, definitely. The lighting is a mixture of artificial light as well as natural light. So different times of the day, the gallery does open around at the 10 o'clock. So you would experience the sun rising from the east. And at certain point, it disappears above the building. And that point is where certain lights in the space start coming on. So early morning, they saw much sunlight coming in. Hence also the placement of the artwork. It's a wave from the dark sunlight. So over here is where you kind of showcase the words that you're most tired of. OK. So you look at all these different design elements. You have to take you into space itself. Now, the aim of this gallery is a continual support of local creative talent, creating a larger wider platform for artists in the hope of contributing to the growing recognition of Kenyan art and creativity, both nationally and internationally. Isn't it great seeing young people not only using their art to express, but also to survive? You really can be whatever you want to be. If you just set your mind to it. Time now for me to say good night and goodbye. Until next, you can remember to hit me up on Facebook and Twitter at Kippit Kiss hashtag graced.