Silhouette Projects – Artist Residency (SP-AIR) – Kampala, Uganda

Location: Plot 110-112, 7th Street, Industrial Area, Kampala, Uganda
Parent Organization: Afriart Gallery
Founded: 2020
Residency Type: Professional Growth & Incubator Program
Director: Daudi Karungi (Afriart Gallery Founder & Director)
Program Coordinator: Lara Buchmann
Email: sp@afriartgallery.org
Gallery Email: art@afriartgallery.org | AAG@afriartgallery.org
Instagram: @silhouette.projects
Gallery Website: http://www.afriartgallery.org
Duration: 3 months
Annual Cohort: 2-3 emerging artists
Geographic Focus: African continent

Overview

Silhouette Projects – Artist in Residence Programme (SP-AIR) represents a unique model in African artist development—combining residency, mentorship, and gallery representation within an integrated “incubator” framework designed explicitly to launch professional careers. Launched in 2020 as the professional growth division of Kampala’s leading contemporary art gallery, Afriart Gallery, Silhouette Projects distinguishes itself by not merely providing studio space and time, but by investing comprehensively in artists’ long-term career trajectories from creation through exhibition to international market access.

As Afriart Gallery founder Daudi Karungi explains: “90% of the artists that we [represent] have gone through either our residence program or some sort of mentorship program.” This statistic underscores Silhouette Projects’ core philosophy—the residency functions as the gallery’s primary talent development pipeline, with successful residents often transitioning into gallery representation and participating in major international art fairs (Art Basel Miami Beach, 1:54 Contemporary African Art Fair, Investec Cape Town Art Fair, Art X Lagos, ARCO Lisbon, AK

AAA Paris) and significant museum exhibitions.

Located in Kampala’s rapidly transforming Industrial Area, the residency occupies a 150sqm warehouse studio and residence embedded within a vibrant creative hub that includes lively bars, coffee shops, co-working spaces, and Afriart’s secondary exhibition gallery. This intentional placement within Kampala’s emerging art village ensures residents engage daily with Uganda’s dynamic art community while benefiting from infrastructure support rare elsewhere on the continent.

What sets Silhouette Projects apart from other African residencies is its explicit commercial orientation combined with rigorous artistic development. While many residencies provide working studios with minimal post-residency support, Silhouette operates from the premise that artists need both space to create AND concrete pathways to sell their work and sustain careers. As one 2020 article noted: “The accent on sales distinguishes it from other local residencies that provide working studios for artists, but with little intent to sell their work.”

However, this commercial focus doesn’t compromise artistic rigor—the residency requires “strongly self-driven, inquisitive, and motivated” artists engaged in developing new ideas and artistic direction, while the curriculum includes reading, writing, and research assignments around relevant topics. Artists work with industry professionals including Uganda’s leading established artists (Professor Ato Delaquis, Emeritus Professor El Anatsui, Owusu Ankomah, Billy Baffoe Bonnie, Betty Acquah) and benefit from Afriart’s accumulated expertise presenting African art to international audiences.

As Daudi Karungi states: “The residence is essentially concerned with helping artists find themselves”—a rigorous process of self-discovery that prepares artists not just to create strong work, but to navigate the professional art world with confidence and strategic awareness.

For emerging African artists seeking to transition from promising talent to established professional practice, Silhouette Projects offers rare comprehensive support: dedicated studio space, curatorial mentorship, material resources, professional development curriculum, guaranteed exhibition outcomes, and integration into gallery roster and international network—all within East Africa’s most exciting contemporary art capital.

Afriart Gallery: The Foundation (2002-Present)

Understanding Silhouette Projects requires understanding Afriart Gallery—the institution whose 22 years of experience championing African artists provides the residency’s infrastructure, expertise, and market access.

The Founder: Daudi Karungi

Daudi Karungi (born 1979, Kampala, Uganda) is the renaissance figure at the center of Uganda’s contemporary art emergence—artist, gallerist, curator, publisher, and cultural entrepreneur who has systematically built the infrastructure Ugandan artists need to thrive.

Education & Early Career:
Graduated from Margaret Trowell School of Industrial and Fine Arts, Makerere University in 2001. Upon graduation, Daudi confronted the stark reality facing Ugandan artists: “I realised there were 100 or so of us graduates and only two galleries in the city, neither of which were where I wanted to show my work.”

Rather than accepting limitation, he created solution: “So I created a gallery, which I soon realised was a full time business. I was an artist for many years and at every level I’ve gotten to, I’ve needed to add another layer. If the thing didn’t exist, I focussed on it—from journals to galleries to mentorships for artists and curators to a biennale to social spaces. All of these things are reactions to absences, to what ought to be.”

Daudi practiced as visual artist from 2002-2016, creating conceptual works collected internationally and displayed in embassies, companies, and five-star hotels around Kampala. He developed distinctive style with Henry Mzili termed “indigenous expressionism”—rooted in local aesthetics while engaging contemporary concerns.

The “Gap-Filler” Philosophy:
“I’ve always described myself as someone who fills the gaps in the world that I want to see,” Daudi explains. This principle has driven every initiative:

• 2002: Founded Afriart Gallery (to solve his own exhibition problem)
• 2007: Co-founded START journal (first arts criticism publication in Uganda) with other artists
• 2007: Co-founded Kampala Arts Trust (KART)—coalition of artists and appreciators working to make art integral to Ugandan society
• 2014: Founded Kampala Art Biennale (to give Ugandan artists international exposure)
• 2020: Launched Silhouette Projects residency (to systematically develop emerging talent)

Each initiative addressed specific absence in Uganda’s art ecosystem, collectively creating conditions for artists to develop, exhibit, critique, network, and sell—the complete infrastructure professional practice requires.

Afriart Gallery Establishment & Growth

November 2002:
Afriart Gallery officially opened at Uganda Manufacturers Association (UMA) showgrounds in Lugogo. First solo exhibition featured Paul Ndema on April 4, 2003.

Original Location:
Plot 56 Kenneth Dale Drive, off Kira Road, Labone, Kampala (near football field). This “classy little gallery” (as Lonely Planet describes it) features changing monthly exhibits downstairs and permanent collection upstairs—all works for sale.

2016/2017: Expansion to Industrial Area:
Recognizing need for larger exhibition and working spaces, Daudi opened “Afriart on 7th” at Plot 110-112, 7th Street, Industrial Area, Kampala—a warehouse conversion that became hub for creative courtyard community. This location houses:

• White cube exhibition gallery
• Silhouette Projects 150sqm warehouse studio/residence (launched 2020)
• Wine bar and restaurant
• Artist lounge for members
• Art shop
• Professional framing services
• Within broader courtyard complex: champagne bar, coffee startup, co-working space

This Industrial Area location transformed formerly vacant manufacturing district into emerging creative hub, attracting Design Hub Kampala (2000sqm creative co-working space on 5th Street), street art murals (Afri-Cans Street Art Festival), and other cultural enterprises.

Gallery Mission & Model

Core Commitments:

1. Artist-Centered Approach:
   Founded by practicing artist who understands difficulties young African artists face, Afriart operates from empathy and inside knowledge.

2. Fair Playing Field:
   Creating supportive community for artists through continuous implementation of growth-fostering projects: mentorship programs, visibility initiatives, archiving/documentation support.

3. Long-Term Career Development:
   Not just showing/selling work, but comprehensive career building through:
   • Silhouette Projects residency
   • Surfaces concept development masterclass (mentorship program)
   • Professional guidance (documentation, pricing, contracts, international fair preparation)
   • Integration into gallery roster for sustained representation

4. International Market Access:
   Daudi has taken Ugandan artists to global stages including:
   • Art Basel Miami Beach (main Galleries section 2024, after three years in Nova/Positions sectors)
   • 1:54 Contemporary African Art Fair (New York, London)
   • Investec Cape Town Art Fair
   • FNB Joburg Art Fair
   • Art X Lagos (first East African gallery at 2018 edition)
   • ARCO Lisbon
   • AKAA Art + Design Fair Paris
   • Abu Dhabi Art
   • Art Paris

5. Holistic Ecosystem Building:
   Beyond gallery operations, Daudi’s initiatives (START journal, Kampala Biennale, KART) create critical discourse, international connections, and community infrastructure that benefits entire Ugandan art scene.

Represented Artists (Selection)

Afriart Gallery currently represents 30+ artists from Uganda and East Africa:

Ugandan Masters:

• Sanaa Gateja – “Probably the most renowned Ugandan artist,” active since 1970s, revolutionary use of paper beads and bark cloth
• Professor Ato Delaquis – Distinguished painter, educator
• Owusu Ankomah – Internationally recognized painter
• Betty Acquah – Painter who later managed Berj Gallery operations
• Billy Baffoe Bonnie – Established artist
• Henry ‘Mzili’ Mujunga – Conceptual artist, curator (25-year career celebrated 2024)

Mid-Career & Emerging (Many SP-AIR Alumni):

• Odur Ronald – Aluminum plate works, Liverpool Biennial 2025, Venice Biennale 2024 Uganda Pavilion, Prince Claus Seed Award 2020, Mukumbya Musoke Art Prize 2020
• Collin Sekajugo – Explores belonging and identity, layered found surfaces
• Emmie Nume – Spontaneous abstraction/figuration, charcoal/pastels/acrylics, Tracey Emin Foundation residency 2023-2024
• Stacey Gillian Abe – Contemporary practitioner
• Arim Andrew – Visual artist
• Ocom Adonias – Installation artist
• Kaleab Abate (Ethiopia) – Printmaking, mixed media, textural explorations
• April Kamunde (Kenya) – Figurative oil painter exploring feminist rest and introspection
• Sungi Mlengeya (Tanzania) – Contemporary artist
• Ronex Ahimbisibwe – Multiple solo exhibitions at Afriart
• Taga Nuwagaba – Established painter
• Fred Mutebi – Visual artist
• Lilian Nabulime – Wood sculptor, academic
• Richard Atugonza – SP-AIR 2020 alumnus, exhibited 1:54 London 2020
• Charlene Komuntale – SP-AIR 2021 alumna
• Daniel Atenyi – SP-AIR 2023 alumnus

Major Exhibitions & Institutional Presence

Afriart artists regularly appear in:

Museum & Institutional Exhibitions:

• Venice Biennale 2024 (Odur Ronald, Uganda Pavilion)
• Liverpool Biennial 2025 (Odur Ronald)
• When We See Us: A Century of Black Figuration in Painting (Zeitz MOCAA, Cape Town 2022-2023)
• Dakar Biennale 2024
• Various African Union exhibitions

Historical Afriart Exhibitions (Selection):

• Kampala…A City in Transition | Taga Nuwagaba (2016-2017)
• Sculptures (1993-2018) | Dr. Lilian Nabulime (2018)
• Crowd Control – Six Degrees of Separation | Henry Mzili Mujunga (2016)
• A Bargain for Woman | Fred Mutebi (2012) – achievements of Ugandan women after 50 years independence
• Women Artists in Uganda exhibition (2012) feat. Sheila Nakitende
• Collage Broadly Defined | curated by Sarah Bushra, artists from Kampala, Kinshasa, Nairobi (2020)
• (IM)PERFECTION | 2020 – inaugural Silhouette Projects exhibition
• Where The Wild Things Are (2022) – group show
• Walking the Edge (2022) – group show
• Shapes of Water (2023) – group show
• Beyond Sculpture (2024)
• Form and Fantasy (2024)
• The Quiet Weight of Thoughts | Daniel Atenyi & Richard Atugonza (2024-2025)
• Undone | Charlene Komuntale & Sarah Waiswa (2025)
• Fabric of Our Being | April Kamunde (2025)

Gallery Impact & Recognition

• Listed among top ten arts venues in Africa by South Africa’s Briefly platform
• First East African gallery to participate in Art X Lagos (2018)
• Graduated from Art Basel’s Nova/Positions sectors (emerging galleries 2021-2023) to main Galleries section (2024)
• Featured in The New York Times, various international art publications
• Daudi Karungi serves on panel discussions like Talking Galleries NYC edition

The Kampala Art Scene Context

Makerere University’s Critical Role

Margaret Trowell School of Industrial and Fine Arts at Makerere University (founded 1937) remains Uganda’s premier art education institution. Named after British art educator Margaret Trowell, the school has produced generations of Ugandan artists including virtually all major figures.

Trowell established Africa-centered curriculum (controversial at the time for elevating African aesthetics rather than imposing European academic standards), creating foundation for what some term “indigenous expressionism”—art rooted in local visual languages while engaging contemporary issues.

Artists trained at Makerere include Sanaa Gateja, Daudi Karungi, Richard Atugonza, and many Silhouette Projects residents. The school’s concentration of talent in one institution creates natural networks that continue throughout careers.

Other Major Art Institutions

32° East Ugandan Arts Trust:
Founded by Teesa Bahana, this organization runs residencies, exhibitions, workshops, and professional mentorship for East African artists. Their KLA ART festival (biennial contemporary art festival) has run since 2012. Location serves as major community hub with exhibit space, library, workspace, and resource center.

32° East provided crucial early development for artists like Odur Ronald before Afriart representation and Silhouette residency. The two institutions complement rather than compete—32° East often serves as earlier-stage incubation, with artists later moving to Afriart/Silhouette for commercial development.

Kampala Art Biennale (KAB):
Founded 2014 by Daudi Karungi and Kampala Arts Trust. Uniquely structured as master-apprentice program where established international artists (Bill Bidjocka, Godfried Donkor, Abdoulaye Konaté, Myriam Mihindou, Radenko Milak, Aida Muluneh, Pascale Marthine Tayou) set up temporary studios in Kampala and mentor East African emerging artists in collaborative creation.

KAB Editions:

• 2014: “Progressive Africa” – 45 artists from 13 African countries, venues included Uganda Museum, Makerere Art Gallery, Nommo Gallery, Afriart Gallery, Alliance Française, National Theatre, Kampala Railway Station
• 2016: “Seven Hills” – association with local cultural operators, introduced Art Education Programme
• 2018: “The Studio” – master/apprentice format, knowledge transmission from international masters to young Ugandan/East African artists
• 2020: Virtual edition due to COVID
• 2023: Continued master-apprentice model

Biennale occurs in August—”art month” when city buzzes with cultural activities including Bayimba Festival and KLA ART.

Other Galleries & Spaces:

• Nommo Gallery (founded 1964) – Uganda’s oldest gallery, established by Uganda Culture Centre, bridges traditional and contemporary art
• Xenson Art Space – Contemporary focus
• The Capsule – Contemporary gallery
• Amba Gallery – Contemporary African art, located Galleria Mall at Kempinski Hotel
• START Journal – Online arts criticism publication (co-founded Daudi Karungi 2007), critical discourse platform
• Design Hub Kampala – 2000sqm creative co-working space on 5th Street Industrial Area (opened 2017)

Challenges & Opportunities

Government Support:
Nearly non-existent. Arts receive minimal state funding, which routinely denounces culture as viable economic sector. Uganda’s education system prioritizes sciences (science teachers paid more than humanities counterparts), creating perception that art is impractical career.

Collecting Class:
Minuscule domestic collecting base. New shows patronized primarily by “hip youngsters and expatriates” rather than established Ugandan collectors. Galleries rely heavily on international collectors discovering work through promotional materials, art fairs, and online platforms.

Artist Resilience:
Despite challenges, artists innovate with limited means. Example: Odur Ronald grew up in Katwe slum collecting scrap metal for pocket money, later transforming aluminum printing plates into internationally exhibited works when unable to afford paint/canvas. His story reflects broader creative community’s determination and resourcefulness.

Rapid Growth:
As Daudi notes: “It’s growing at a fast speed. A lot is happening and a lot will happen. It’s exciting. I’ve never been so busy as an art director than I am now. There are requests for exhibitions abroad, for commissions, and for art fairs. There are more collectors here and overseas, and there are art societies seeking advice. Every day local enthusiasts contact me about art.”

Number of commercial galleries grew from 2 (when Daudi graduated 2001) to at least 6 currently, with more spaces emerging in Industrial Area, Masaka (disused banking hall converted to vibrant artistic community), and across Kampala neighborhoods.

Regional Context:
Uganda sits within thriving East African art ecosystem including Nairobi (Circle Art Gallery, Nairobi Gallery, others), Dar es Salaam, Addis Ababa (Addis Fine Art, St. George Gallery), creating regional networks, artist exchanges, and collaborative exhibitions.

Nairobi’s influential Circle Art Gallery runs annual Kenya/East Africa auction that has been critical in reappraising undervalued Ugandan artists. Example: Geoffrey Mukasa, painter who died poor and underappreciated in 2009, now commands hefty auction prices as his “timeless” work gains recognition.

Intellectual Engagement:
Curator Danda Jaroljmek (Circle Art Gallery Nairobi) describes Kampala art scene as “more intellectually engaged” than Nairobi’s, partly due to Makerere University’s role as “central location” educating artists with strong theoretical foundations.

Silhouette Projects Residency Structure

Program Objectives

Silhouette Projects operates from three interconnected goals:

1. Long-Term Career Impact:
“The residency focuses on the long-term impact on the careers of visiting artists”—not just providing three months of studio time, but fundamentally preparing artists for sustainable professional practice through:

• Creating significant new body of work
• Developing conceptual clarity and artistic direction
• Building professional networks (gallery connections, fellow artists, curators, collectors)
• Gaining exhibition experience and documentation
• Understanding international art market dynamics
• Transitioning many residents into gallery representation

2. Professional Artist Growth:
Mission statement: “Create an environment where professional African artists can thrive in their work and careers.” This means:

• Carefully selecting talented artists showing strong potential
• Supporting through comprehensive professional growth programs
• Providing mentorship by established industry professionals
• Investing in visibility through exhibitions, art fairs, biennales, museum shows

3. Self-Discovery & Artistic Direction:
As Daudi Karungi explains: “The residence is essentially concerned with helping artists find themselves.” Through intensive three-month immersion, residents:

• Develop or refine distinctive artistic voice
• Experiment with materials, techniques, concepts without commercial pressure
• Engage critical dialogue with mentors and peers
• Read, write, research around relevant topics
• Emerge with clearer sense of artistic identity and direction

Facilities & Location

Studio/Residence Space:
150sqm warehouse combining working studio and residential accommodation. The open-plan industrial aesthetic offers:

• Generous space for large-scale work
• Natural light from warehouse windows
• Flexibility for diverse media (painting, drawing, installation, sculpture, performance documentation)
• Accommodation integrated with studio (eliminates commute, enables immersive working)
• Secure storage for works in progress

Flexible Design:
Space “designed in such a way that it can accommodate the artists-in-residence, but also host workshops, creative meetings, artistic performances, and presentations”—enabling:

• Open studio sessions (residents share process with public)
• Artist talks and discussions
• Collaborative workshops with community
• Performance art events
• Presentations to collectors/curators visiting Kampala

Creative Hub Environment:
Within same premises as Silhouette Studios:

• Afriart Gallery exhibition space – professional white cube for resident exhibitions
• Lively bar – social space for informal networking
• Coffee shop – daytime working/meeting venue
• Co-working space – interaction with designers, entrepreneurs, creatives from other fields
• All “popular with Kampala’s art scene visitors”—ensuring constant flow of artists, curators, collectors, cultural workers through complex

Industrial Area Location:
Plot 110-112, 7th Street sits in Kampala’s transforming old industrial district:

• Creative concentration: Design Hub Kampala (5th Street), street art murals, emerging galleries and studios
• Grit & authenticity: Working factories, manufacturing spaces, “hustle and bustle” providing raw urban energy
• Central accessibility: Easy reach from other Kampala neighborhoods
• Affordable rents: Compared to central Kampala, allowing larger spaces
• Development potential: Area actively gentrifying as creative enterprises move in

As program description notes: “The hustle and bustle of this area make it a perfect location for artists seeking inspiration”—the contradiction between industrial grit and emerging creative polish creates dynamic environment.

Eligibility & Selection

Geographic Scope:
“Open to two to three talented, emerging young artists from the African continent“—pan-African rather than Uganda-only, creating regional exchange while prioritizing continental artists.

Career Stage:
“Emerging young artists” signals focus on early-to-mid career practitioners:

• Not beginners lacking foundational skills
• Not fully established artists with major gallery representation
• Artists demonstrating talent but needing professional development, visibility, market access to reach next level

Disciplines:
“Painting, drawing, installation art, sculpture, performance art, and others”—broad disciplinary openness with traditional studio practices (painting, drawing, sculpture) as core but extending to installation and performance.

Notable: Performance art inclusion distinguishes from many residencies focused exclusively on object-based work. However, Silhouette’s gallery integration suggests performance would be documented/translated into exhibitable formats.

Required Qualities:
“Residents are expected to be strongly self-driven, inquisitive, and motivated to develop new ideas and focus on their artistic direction.”

Self-driven: Three months passes quickly; artists must work independently without constant supervision. Mentorship available but residents responsible for maximizing time.

Inquisitive: Intellectual curiosity, willingness to read/research, engage critical dialogue, ask questions, seek knowledge beyond studio practice.

Motivated to develop new ideas: Not repeating established formulas but pushing into new territory, experimenting, taking risks.

Focus on artistic direction: Seeking conceptual clarity, developing consistent body of work, understanding where practice is heading.

Support Provided

1. Studio Space:
Dedicated workspace within 150sqm warehouse, shared with 1-2 other residents (2-3 residents per cohort).

2. Housing:
Residential accommodation integrated with or near studio—eliminating rent/accommodation costs and commute time.

3. Working Materials:
“Production needs such as space, working materials” supported—specifics (whether full materials provision, stipend, or reimbursement) not publicly detailed but residents have access to supplies needed for creation.

4. Travel Support:
“Travel” listed among supported production needs—likely covering:

• International airfare to/from Kampala (for non-Ugandan residents)
• Domestic Uganda travel if relevant to projects
• Possibly travel to regional exhibitions/fairs if residents’ work included

5. Networking Opportunities:
“The program supports the artists’ networking opportunities”—facilitated connections to:

• Afriart Gallery roster artists (established and emerging)
• Kampala art community (32° East, other galleries, independent artists)
• Collectors and curators visiting Kampala/attending Afriart exhibitions
• International fair connections if residents accompany gallery to fairs

6. Curriculum & Professional Development:
“Artists will be part of a supportive community and will be engaged in a curriculum that includes reading, writing, and researching assignments around relevant topics.”

Reading assignments: Likely art theory, criticism, artist statements, exhibition catalogues, texts relevant to individual practices

Writing assignments: Developing artist statements, project proposals, exhibition texts—crucial professional skills many emerging artists lack

Research assignments: Investigating art historical precedents, contemporary practitioners, conceptual frameworks for own work

Topics: “Relevant” suggests customization to individual residents’ interests/practices rather than one-size-fits-all curriculum

7. Mentorship by Industry Professionals:
“Coaching and mentorship by industry professionals” drawing on:

Established Ugandan Artists (Afriart’s “enduring relationships”):

• Professor Ato Delaquis – Distinguished painter, educator
• Emeritus Professor El Anatsui – Internationally celebrated installation artist, Venice Biennale Golden Lion winner, works in Afriart collection
• Owusu Ankomah – Internationally recognized painter
• Billy Baffoe Bonnie – Established artist
• Betty Acquah – Painter, former Berj Gallery manager

Gallery Team:

• Daudi Karungi – Artist, curator, gallerist with 22+ years experience presenting African art internationally
• Lara Buchmann – Silhouette Projects Program Coordinator
• Curatorial and administrative staff with art fair/museum exhibition experience

Visiting Artists/Curators:
During Kampala Art Biennale (August), international master artists temporarily in city provide potential additional mentorship.

8. Exhibition Opportunity:
While not explicitly guaranteed in program description, track record shows every documented resident has exhibited at Afriart Gallery during or shortly after residency:

• 2020 (IM)PERFECTION exhibition featured Richard Atugonza
• Subsequent group and solo shows at Afriart included SP-AIR alumni
• Exhibition provides crucial documentation, sales potential, collector exposure

Duration & Timing

Length:
“3 months residency program“—sufficient time to:

• Develop substantial new body of work
• Build meaningful relationships with Kampala art community
• Participate in curriculum/mentorship
• Exhibit work toward end of residency
• Experience Kampala cultural life

Not so long that life/career elsewhere completely disrupted. Ideal for emerging artists balancing residency with other commitments.

Cohort Size:
“Two to three talented, emerging young artists” per cohort—small enough for:

• Individualized mentorship
• Adequate studio space for each artist
• Close relationships between residents
• Manageable administrative oversight

Large enough to:

• Prevent isolation
• Enable peer critique and exchange
• Create small community

Annual Cycle:
Not explicitly stated, but past resident patterns suggest:

• Possibly multiple cohorts annually (different start months)
• OR single annual cohort (timing variable based on applications/gallery schedule)
• Given gallery’s Art Basel and other fair commitments, likely scheduled to avoid peak fair season

Flexibility:
Some residents’ timings (based on exhibition dates and resident biographies) suggest flexibility in exact start/end dates to accommodate individual circumstances.

Past Residents: Achievements & Trajectories

Examining Silhouette Projects’ track record reveals residency’s transformative impact on participating artists’ careers. Nearly all documented residents transitioned to Afriart Gallery representation and significant international visibility.

2020 Cohort (Inaugural Year)

Odur Ronald (Uganda)

Background:
Born Kampala. Grew up in Katwe, one of Kampala’s low-income neighborhoods and largest scrap metal dealing community. Childhood spent collecting and selling metallic scraps for pocket money to buy toys—experience that profoundly shaped artistic practice.

Graduated Interior Design at Kyambogo University, Uganda (2017). Unable to afford paints and canvas when starting art practice, watched YouTube video of someone embossing soda can and adapted technique to aluminum printing plates—free/cheap material readily available from childhood scrap-collecting networks.

To finance university studies, painted quick stereotypical tourist-friendly images at National Theatre craft market—”NGO art” as he later termed it (animals, women with children on backs). This commercial work sustained him while developing conceptual practice.

Pre-Residency Development:
Before Silhouette, Odur participated in 32° East/Ugandan Arts Trust residency at Centre Soleil d’Afrique, Mali (2020). At 32° East compound, peer workshops and training with artists like filmmaker Nikissi Serumaga and London-based Othello De’Souza-Hartley helped him gain greater understanding of contemporary art discourse and move beyond tourist imagery.

Silhouette Projects Residency (2020):
During residency, Odur refined aluminum plate technique, moving from flat works to three-dimensional replica objects from daily life: shirts, backpacks, miniature cigarette packets, shoes—all meticulously hand-embossed from aluminum.

Work “No Hurry” made during residency reimagined objects he interacted with daily, exploring freedom of movement, migration, access, belonging, identity, and possibilities/obstacles within himself and surrounding society.

Conceptual framework evolved from purely material exploration to sophisticated examination of contemporary African experience—mobility restrictions, economic barriers, surveillance, aspiration.

Techniques developed: Hand-stitching aluminum, weaving, denting, burning, layering—pushing possibilities of medium through experimental approaches.

Post-Residency Career Trajectory:

Exhibitions:

• (IM)PERFECTION duo exhibition, Afriart Gallery (2020)
• Where The Wild Things Are, Afriart Gallery (2021)
• East African Biennale, Dar es Salaam (2019)
• Kampala Art Biennale “The Studio” curated by Simon Njami (2018)
• East Meets East, New Gallery CoCuDI Center, Jerusalem (2020)
• KLA ART 21, 32 Degrees East (2021)
• Our Africa Our Future, African Union Headquarters, Addis Ababa, Ethiopia
• 14th Kaunas Biennale, Lithuania (2023)
• The Republic of This and That, Solo Exhibition at Afropocene Capsule (2023)
• Welcome to the UK, Ugly Duck, London (2024)
• 60th Venice Biennale, Uganda Pavilion (2024)
• Beyond Sculpture, Afriart Gallery (2024)
• Liverpool Biennial 2025 – large-scale installation
• Dak’art Biennale 2024, Dakar, Senegal

Awards:

• Mukumbya Musoke Art Prize 2020 (winner)
• Prince Claus Seed Award 2020 (Netherlands)

Additional Residencies:

• African Union (AU20) Art Residency at Loman Art, Dakar, Senegal (2022)
• Gasworks Art Residency, London, UK (2024)
• Instructor In Residency, 32° East/Ugandan Arts Trust (2024)

Gallery Representation:
Afriart Gallery, Kampala

Market Success:

• Solo booth Liste Art Fair Basel 2025
• Works collected internationally

Impact Assessment:
Odur represents Silhouette Projects’ greatest success story—from Katwe scrap collector to Venice Biennale and Liverpool Biennial within five years, with Silhouette residency as crucial catalyst transitioning him from promising talent (recognized by 32° East) to international-level artist with museum exhibitions and major institutional recognition.

Richard Atugonza (Uganda)

Residency: 2020

Background:
Ugandan artist working in painting and mixed media.

Silhouette Impact:
Featured in inaugural (IM)PERFECTION exhibition (2020). His “cooperation with [fellow resident] Atugonza contributed to the shift in my work,” Odur Ronald noted—suggesting productive peer exchange between 2020 residents.

Post-Residency Achievement:

• Showcased at 1:54 Contemporary African Art Fair London 2020
• Represented at The Quiet Weight of Thoughts (duo exhibition with Daniel Atenyi), Afriart Gallery (November 2024 – February 2025)
• Gallery representation: Afriart Gallery

Erinah Fridah (full name: Babirye Erinah Fridah) (Uganda)

Background:
Born 1998, based Kampala. Mixed media artist exploring diverse materials, draws inspiration from nature and relationship with environment to create awareness in work.

Spends time in wilderness and gardens exploring symbolic meaning and physical/scientific characteristics of plants. Throughout work, facial features humanize plants creating closer link between people and nature.

Silhouette Projects Residency: 2020-2021

Technique:
Soft pastels on canvas, mixed media incorporating natural materials and found objects.

Other Residencies:

• Transdisciplinary Regenerative Encounter Residency Uganda (TERRUR) 2021-2022
• Artist Exchange Pilotenkueche/Goethe Zentrum, Kampala (2021)

Recognition:

• Shortlisted for Makumbya Musoke Art Prize
• Shortlisted for Tilga Art Fund

Works:
Through the Palms (2023), Soft Pastels on Canvas, 60 x 85cm

Victoria Nabulime (Uganda)

Residency: 2020

Limited public information but documented as 2020 SP-AIR participant.

2021 Cohort

Emmie Nume (Uganda)

Background:
Born 1999, Kampala. Working class background, developed artistic practice while supporting himself through various jobs.

Silhouette Projects Residency: March-June 2021

Artistic Breakthrough:
“Since he began this first residency, he propelled his artistic expression into its own distinct visual language.” The residency provided crucial time/space for Nume to transition from tentative experimentation to confident distinctive practice.

Medium & Style:
Charcoal, soft pastels, acrylics on canvas and paper, with spontaneous use of collage and found objects. Combines spontaneous abstraction with figurative complexities—freedom granted himself while creating.

Focuses on portraiture but captures essence of emotions through spontaneous and free expression—devoid of meticulous formal academic calculation. Personal experiences as departure point for visual expressions interrogating the internal, the intimate.

Signature Aesthetic:
Deeply intuitive practice, dreamlike quality, vulnerable and full of softness and nuance, empty stares, moments when world continues while subject’s has come to uncomfortable halt—speaking of change and evolution.

Post-Residency Exhibitions:

• WHEN THOUGHTS ATTACK ME (debut solo exhibition), Afriart Gallery (2023)
• I DRAW, THEREFORE I THINK, South South Platform (2021)
• WHERE THE WILD THINGS ARE, Afriart Gallery (2022)
• FORM AND FANTASY, Afriart Gallery (2024)
• Art Basel Miami Beach
• Liste Art Fair Basel
• EXPO Chicago 2024
• Joburg Art Fair
• ARCO Lisbon
• 1:54 London
• Investec Cape Town Art Fair

Major Residency:
Tracey Emin Foundation, Margate, UK (2023-2024)—prestigious international residency demonstrating Silhouette prepared Nume for higher-level opportunities.

Gallery Representation:
Afriart Gallery, Kampala

Critical Reception:

• Debra Brehmer for Hyperallergic: “The Productive Messiness of EXPO Chicago 2024”
• Gloria Coutinho for Start Journal: “Emmie Nume – A Diamond in the Rough” (2023)
• Art Africa Magazine: “When Thoughts Attack Me: Emmie Nume at Afriart Gallery, Uganda” (2023)
• Roli O’tsemaye for Sugarcane Mag: “This Week in African Art and Culture” (2023)
• Kenny Schachter for Artnet mentions

Impact Assessment:
Nume’s trajectory—from unknown emerging artist to Art Basel Miami Beach, Liste Basel, Tracey Emin Foundation residency, and critical coverage in major publications within three years—demonstrates Silhouette’s capacity to catapult careers when combined with talent and work ethic.

Vitus Wasswa (Uganda)

Residency: 2021

Limited public information but documented as 2021 SP-AIR participant.

Charlene Komuntale (Uganda)

Residency: 2021

Post-Residency Achievement:

• Undone (duo exhibition with Sarah Waiswa), Afriart Gallery (April 10 – May 3, 2025)
• Gallery representation: Afriart Gallery

Inclusion in Afriart’s 2025 exhibition program demonstrates sustained relationship with gallery post-residency.

2022 Cohort

Kaleab Abate (Ethiopia)

Background:
Ethiopian artist based Addis Ababa. Trained in printmaking and mixed media.

Silhouette Projects Residency: September-December 2022 (approximate, based on October 2021 open studio session)

Artistic Practice:
Print works in bold blacks and greys juxtaposed with bright reds, ochre browns, umbers, siennas for backgrounds. Faces presented in 3D forms while bodies/backgrounds executed as flat impressions—both textured and plain, overlapped intentionally yet in no particular fashion.

Technique Innovation:
Texture achieved using:

• Burned stencils
• Found objects: wire mesh, abandoned plastic sack fragments, underside pattern of sandals
• Dangling threads extending off paper/canvas, giving extra dimension
• Mixed media combining printmaking with collage, assemblage techniques

Conceptual Framework:
“I chose light knowing it’s dark“—metaphor highlighting hypocrisy and exploitation surrounding election of leaders in Ethiopia and many parts of Africa. Light bulbs and light switches recur as symbols of false promises, performative democracy, political manipulation.

Work explores space between comfort and distress, navigating complicated existence, everyday narratives embedded within contemporary African contexts.

Post-Residency Exhibitions:

• When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (November 20, 2022 – September 3, 2023)—major institutional exhibition
• Group exhibitions at Afriart Gallery
• Various shows in Ethiopia

Gallery Representation:
Afriart Gallery, Kampala (also likely Ethiopian gallery representation)

Critical Writing:
Gloria Coutinho for Start Journal: “Kaleab Abate – The In Between” (February 2023)

Impact Assessment:
As non-Ugandan resident, Kaleab demonstrates Silhouette’s pan-African reach and success integrating East African artists beyond Uganda. Zeitz MOCAA inclusion (Africa’s premier contemporary art museum) within year of residency shows immediate institutional validation.

April Kamunde (Kenya)

Background:
Born and raised Nairobi, Kenya. Degree in Biochemistry. Worked in finance/procurement and marketing with global FMCG company before transitioning to art.

Practiced as portrait artist for 17 years (part-time), doing commissions to supplement income. During COVID-19 lockdown (late 2020), took “risky” leap to full-time art practice, leaving lucrative corporate job.

Turning point: 2019 donation of painting to fundraising gala—work sold for KES 150,000 ($1,500), far exceeding expectations and confirming market viability. Another catalyst: acceptance into group exhibition at top Nairobi gallery with “RED” theme (portrait of great aunt with red scarf)—piece sold, boosting confidence.

Silhouette Projects Residency: 2022 (3 months)

Artistic Practice:
Works primarily in oils creating figurative paintings with soft, delicate brush strokes. Subjects placed in natural, lush environments, radiating gentle, natural presence.

Current Focus: “Rest: The Pursuit of Peace”
Explores meanings of rest from personal and feminist angle—response to weariness triggered by pandemic, rapidly changing world, and endeavor to live successful, fulfilling life in fast-paced Nairobi (one of Africa’s megacities).

“I invite the audience to peer into the moments of pause and introspection being experienced by the women featured in the work. I explore what it looks like to choose one’s self, to take up space, to slow down and unburden one’s self in today’s demanding world.”

The Dera (Somali dress):
Features prominently in series. Designed to fit loosely with ample room for aeration and movement, grown popular in Nairobi as loungewear. For Kamunde, serves as “Do Not Disturb” sign—signaling “me-time” and reclamation of energy.

Natural fauna surroundings serve as antidote to and withdrawal from everyday performances of societal and cultural roles/expectations.

While working from autobiographical origin, work leans into shared experiences, making it relatable across audiences, igniting conversations.

Post-Residency Exhibitions:

• Walking the Edge, Afriart Gallery (2022)
• Shapes of Water, Afriart Gallery (2023)
• Eastern Voices: Contemporary Art from East Africa, Addis Fine Art, London (2023)
• 1:54 Contemporary African Art Fair London (2023)
• Art X Lagos (2023)
• INVESTEC Cape Town Art Fair (2023)
• African Galleries Now x Artsy (2023)
• Fabric of Our Being (debut solo), The African Arts Trust (TAAT), Nairobi (June 2025)
• Fabric of Our Being, Afriart Gallery, Kampala (July 26 – September 6, 2025)

Awards & Fellowships:

• WAFT (Writer’s and Artist Fellowship for Travel) facilitated by Wangechi Mutu Studio (2024)

Gallery Representation:
Afriart Gallery, Kampala

Critical Coverage:

• Generazione Critica: “Work in Focus – Creation of Pockets of Peace by April Kamunde” (2025)
• What’s Hot Africa: “In Conversation With Kenyan Artist April Kamunde” (2023)
• The Art Kultured: “April Kamunde” (2022)
• Yaza South Africa: “April Kamunde: This Is How She Got Into Art” (2022)
• OnArt Media: “Moments of feminist introspection: an analysis of April Kamunde’s works” (June 2023)

Impact Assessment:
Kamunde demonstrates Silhouette’s ability to support mid-career transitions—taking artist with strong foundation (17 years experience) and providing space/mentorship to pivot from commercial portrait commissions to conceptually rigorous contemporary practice. Her immediate integration into Afriart roster and participation in major African art fairs (1:54, Investec Cape Town, Art X Lagos) shows commercial viability of work developed during residency.

2023 Cohort

Fiker Solomon (Country unknown, likely Ethiopia based on name)

Residency: 2023

Limited public information but documented as 2023 SP-AIR participant.

Daniel Atenyi (Uganda)

Residency: 2023

Post-Residency Achievement:

• Open Studio session, August 2023 (documented)
• The Quiet Weight of Thoughts (duo exhibition with Richard Atugonza), Afriart Gallery (November 23, 2024 – February 1, 2025)

Open studio format suggests community engagement during residency—inviting public into working process, building local audience, practicing artist talks.

Gallery Representation:
Afriart Gallery, Kampala

Amani Azhari (Country unknown)

Residency: 2023

Limited public information but documented as 2023 SP-AIR participant.

2025 Cohort

Esra Rahma Abdalla (Country unknown)

Residency: 2025 (ongoing or recently completed)

First confirmed 2025 resident, suggesting program continuity and ongoing cohorts.

Track Record Analysis

Success Metrics

Gallery Representation:
Virtually 100% of documented SP-AIR participants transition to Afriart Gallery representation—extraordinary conversion rate demonstrating residency functions as deliberate talent pipeline.

International Fair Participation:
Alumni have participated in:

• Art Basel Miami Beach (Emmie Nume, others)
• Liste Art Fair Basel (Emmie Nume, Odur Ronald)
• 1:54 Contemporary African Art Fair London/NY (Richard Atugonza, April Kamunde, others)
• Investec Cape Town Art Fair (April Kamunde, others)
• Art X Lagos (April Kamunde, others)
• EXPO Chicago (Emmie Nume)
• ARCO Lisbon (Emmie Nume)
• AKAA Paris
• Joburg Art Fair (Emmie Nume, others)

Museum/Biennale Exhibitions:

• Venice Biennale 2024 (Odur Ronald)
• Liverpool Biennial 2025 (Odur Ronald)
• Dakar Biennale 2024 (Odur Ronald)
• Zeitz MOCAA (Kaleab Abate)
• African Union Headquarters exhibitions (Odur Ronald)
• Kaunas Biennale Lithuania (Odur Ronald)
• East African Biennale (Odur Ronald)

International Residencies Post-SP-AIR:

• Tracey Emin Foundation, UK (Emmie Nume 2023-2024)
• Gasworks Art Residency, London (Odur Ronald 2024)
• African Union Art Residency, Dakar (Odur Ronald 2022)

Awards:

• Mukumbya Musoke Art Prize 2020 (Odur Ronald – winner)
• Prince Claus Seed Award 2020 (Odur Ronald)
• WAFT Fellowship (April Kamunde 2024)
• Multiple shortlistings for major prizes

Common Trajectory Pattern

Pre-Residency:

• Emerging artist with talent/potential but limited visibility
• Often participation in other programs (32° East, university exhibitions, small group shows)
• Developing practice but not yet professional-level presentation/documentation

During Residency:

• Intensive three-month focus producing substantial new body of work
• Mentorship refining conceptual clarity
• Curriculum developing professional skills (artist statements, proposals, research)
• Networking with Kampala art community
• Exhibition at Afriart (during or immediately after residency)

Post-Residency (Year 1-2):

• Transition to Afriart Gallery representation
• Participation in Afriart group exhibitions
• Inclusion in international art fairs (1:54, Investec Cape Town, Art X Lagos initially)
• Solo exhibition at Afriart or regional galleries
• Professional documentation improving (photography, artist statements, portfolios)

Post-Residency (Year 3-5):

• Participation in major art fairs (Art Basel, Liste)
• Museum/biennale exhibitions
• International residencies
• Critical coverage in art publications
• Market prices increasing
• Some pursue MFAs or additional training
• Career sustainability achieved through sales, commissions, teaching, grants

Distinguishing Factors from Other Residencies

Commercial Integration:
Unlike residencies that separate artistic development from market, Silhouette explicitly prepares artists for commercial success. This isn’t “selling out”—it’s recognizing that sustainable careers require sales, and artists deserve professional guidance navigating market realities.

Gallery Representation:
Most residencies provide no post-program support. Silhouette offers pathway to gallery representation—invaluable for emerging artists who otherwise struggle accessing professional galleries.

International Fair Access:
Participating in Art Basel or 1:54 requires gallery representation. SP-AIR alumni gain these opportunities through Afriart, dramatically accelerating international visibility.

Proven Track Record:
Only five years old (2020-2025) yet already produced Venice Biennale participant, Liverpool Biennial artist, multiple Art Basel/Liste participants, Zeitz MOCAA exhibitor—demonstrating real impact, not just rhetoric.

Application Process & Selection

How to Apply

Contact Information:
Email: sp@afriartgallery.org (Program Coordinator Lara Buchmann)
Alternative gallery emails: art@afriartgallery.org | AAG@afriartgallery.org

No Formal Open Call:
Silhouette Projects does not appear to operate fixed annual open calls with deadlines. Instead, applications/nominations seem accepted on rolling or semi-regular basis with cohorts formed as strong candidates identified.

Recommended Application Materials:

While not officially published, standard residency applications should include:

1. Artist Statement (500-1000 words)
   • Describe your practice, themes, materials, methods
   • Explain why you’re seeking residency now (what development you need)
   • How Silhouette Projects specifically aligns with your goals
   • What you hope to achieve during three months

2. Portfolio (15-20 images)
   • JPEGs of recent work (last 2-3 years)
   • File names indicating: Artist Name_Title_Year_Medium_Dimensions
   • Best quality images showing work clearly
   • Include installation views if relevant
   • For performance/time-based work: documentation stills plus links to video

3. CV/Resume
   • Education (art school, university, workshops)
   • Exhibitions (solo, group, with dates and venues)
   • Residencies/awards/grants
   • Publications/press
   • Collections (if applicable)
   • Professional experience

4. Project Proposal (optional but recommended)
   • What specific body of work would you develop during residency?
   • How would Kampala context inform/influence project?
   • What resources/materials would you need?
   • How would this advance your practice?

5. References (2-3)
   • Contact information for artists, curators, educators who know your work
   • Brief description of relationship

Submission:
Email materials to sp@afriartgallery.org with subject line: “Silhouette Projects Residency Application – [Your Name]”

PDF portfolio + CV preferred (keep file size reasonable, under 10MB). Include links to website/Instagram if available.

Selection Criteria (Inferred)

Based on successful residents’ profiles and program description:

1. Demonstrated Talent:
Strong existing body of work showing artistic skill, conceptual engagement, distinctive voice emerging (even if not fully developed).

2. Professional Readiness:
Not absolute beginners needing foundational training, but artists ready to benefit from professional-level mentorship, exhibition opportunities, market exposure.

3. Growth Potential:
Artists showing trajectory from emerging to established—residency should catalyze that transition rather than maintain current level.

4. Self-Motivation:
Evidence of self-driven practice (regular production, independent exhibitions/projects, research, experimentation). Residency amplifies existing momentum; doesn’t create it from scratch.

5. Artistic Ambition:
Artists seeking to develop new ideas, push practice in new directions, take risks. Not simply repeating established successful formulas.

6. Intellectual Curiosity:
Willingness to read, research, write, engage critical discourse—evidenced through artist statement quality, project proposal depth, previous engagement with theory/criticism.

7. Professional Conduct:
Clear communication, realistic proposals, respectful engagement, reliability. Gallery seeks artists who will represent well to collectors, curators, press.

8. Fit with Gallery Roster:
While diverse in style/approach, Afriart artists share certain qualities:

• Contemporary engagement (not traditional/tourist art)
• Conceptual sophistication (work says something beyond surface aesthetics)
• African contexts (even if not explicitly “African themes”)
• Professionalism (quality production, presentation, conduct)

9. Career Stage:
Emerging but not beginner:

• Likely post-university (undergraduate at minimum)
• Some exhibition experience (group shows, small galleries)
• Developing but not fully established practice
• Ready for next level but lacking infrastructure/support to get there

10. Regional/Pan-African Focus:
Open to “African continent”—Ugandan, Kenyan, Ethiopian, Tanzanian, Eritrean, Rwandan, South Sudanese, Burundian, Somali, and other African artists all eligible. Not restricted to East Africa though regional focus natural.

Recommendations for Strong Applications

Research Afriart’s Roster:
Study gallery’s represented artists. What qualities unite them despite stylistic diversity? How does your work complement/add to roster?

Specificity:
Generic residency applications fail. Explain precisely why Silhouette Projects (not just “a residency”) and why now (not last year or next year).

Kampala Context:
Acknowledge you’re coming to specific place with specific history/culture/community. How will you engage? What are you curious to learn about Uganda/Kampala art scene?

Professional Presentation:
Quality images, proofread writing, organized CV, professional communication throughout. This is your introduction to potential future gallery representation—make it count.

Realistic Project:
Three months passes quickly. Propose achievable body of work that doesn’t require specialized equipment/materials unavailable in Kampala or months of preparation.

Follow-Up:
If no response within 4-6 weeks, polite follow-up email is appropriate. Galleries are busy; reminders welcome.

Timeline Expectations

Application to Decision:
Likely 4-8 weeks for review (gallery must coordinate with Daudi Karungi’s schedule, international fair commitments, existing residents’ timelines).

Decision to Residency Start:
If accepted, probably 2-4 months advance notice to arrange:

• International travel/visas
• Accommodation/logistics
• Material shipping if necessary
• Communication with current/future employers, landlords, etc.

Visa Requirements:
Non-Ugandan residents need to research Uganda visa requirements for their nationality. Tourist visas typically valid 90 days (matching residency length) but confirm current regulations.

Costs & Funding

What’s Covered

Confirmed Support:

• Studio space (shared 150sqm warehouse)
• Accommodation (residential space)
• Working materials (specifics unclear—possibly provision, stipend, or reimbursement)
• Networking opportunities
• Mentorship/curriculum
• Exhibition opportunity

What’s Likely Not Covered

International Travel:
Not mentioned in program description. Unlike some international residencies covering flights, applicants should assume responsibility for transportation to/from Kampala unless explicitly offered.

Living Expenses:
No mention of stipend. Artists should budget for:

• Food (meals not provided)
• Local transportation
• Personal expenses
• Entertainment/socializing
• Materials beyond basic provision
• Communication (phone/internet if not included in accommodation)

Visa Costs:
Uganda tourist visa fees (varies by nationality—check current rates)

Health Insurance:
International health insurance during residency

Budget Estimation

For International (Non-Ugandan) Artists:

Essential Costs:

• Round-trip flights: $400-1200 depending on origin
• Visa: $50-100
• Health insurance (3 months): $150-300
• Living expenses: $600-1200 ($200-400/month for food, transport, basics in Kampala)

Total: ~$1200-2800 for entire residency

Optional:

• Materials beyond provided: $100-500
• Weekend travel/tourism: $200-500
• Emergency fund: $300-500

For Ugandan/Kampala-Based Artists:

Essential Costs:

• Living expenses if giving up current income: $600-1200
• Materials: $100-500

Total: ~$700-1700 for entire residency

Funding Strategies

1. Artist Grants:
Research grants supporting:

• African artist mobility/residencies
• Emerging artist development
• East African cultural exchange
• Specific discipline (painting, sculpture, etc.)

Potential funders: Prince Claus Fund, African Arts Trust, Goethe-Institut, Institut Français, British Council East Africa Arts, various national arts councils.

2. Crowdfunding:
Platforms like GoFundMe, Kickstarter (especially for artists with existing fan base/collector network). Frame as professional development investment.

3. University/Institutional Support:
If currently student or recent graduate, inquire about:

• Study abroad/international experience grants
• Art department travel funds
• Alumni association grants
• Faculty recommendation letters may unlock funding

4. Private/Corporate Sponsorship:
Approach:

• Local businesses (offer artwork in exchange)
• Art collectors who’ve purchased work
• Cultural organizations
• Corporate CSR programs

5. Part-Time Work Pre-Residency:
Save specifically for residency over 6-12 months, setting aside portion of income.

6. Sales/Commissions:
Intensify artwork sales/commissions months before residency to fund participation.

7. Payment Plans:
Contact Lara Buchmann to discuss if any payment plans available for accommodation/materials if funding partially secured.

Living in Kampala: Practical Information

About Kampala

Geography:
Uganda’s capital and largest city, situated on northern shores of Lake Victoria in south-central Uganda. City built across series of hills (traditionally “seven hills” though sprawl now covers more).

Population:
Estimates vary widely—2-9 million depending on boundary definitions and methodologies. Rapidly growing urban area with extensive informal settlements alongside modern development.

Climate:
Tropical savanna climate with two rainy seasons:

• March-May (long rains)
• September-November (short rains)
• Dry seasons: December-February, June-August
• Temperatures: 15-28°C (59-82°F) year-round
• High humidity, particularly during rainy seasons

Language:

• English: Official language, widely spoken
• Luganda: Dominant local language in Kampala/Buganda region
• Swahili: Increasingly common, especially business/tourism

Currency:
Ugandan Shilling (UGX)

• Exchange rate: approximately 3,700 UGX = 1 USD (fluctuates)
• Cash widely preferred; ATMs available but may have limits/fees
• Mobile money (MTN Mobile Money, Airtel Money) extremely popular

Getting to Kampala

International Airport:
Entebbe International Airport (EBB) – located Entebbe, 40km southwest of Kampala on Lake Victoria peninsula

From Airport to Kampala:

• Taxi: Official airport taxis ~40,000-60,000 UGX ($11-16), 45-90 minutes depending on traffic
• Ride-hailing: Uber, Bolt, SafeBoda available, similar pricing
• Bus: Cheaper (~10,000 UGX) but less convenient with luggage
• Afriart Gallery/Silhouette Projects may assist arranging airport pickup

Traffic:
Kampala notorious for severe traffic congestion, especially rush hours (7-9am, 5-8pm). Journey times unpredictable; allow extra time.

Transportation in Kampala

Boda Bodas (Motorcycle Taxis):
Ubiquitous, fast (can weave through traffic), affordable (2,000-10,000 UGX for most trips). Primary transportation for many residents.

Safety: Some risk (accidents, robberies). Tips:

• Use app-based services (SafeBoda, Uber Boda) when possible
• Insist on helmet
• Avoid late night boda rides
• Secure belongings
• Negotiate/confirm price before departing

Taxis (Matatus/Shared Minibuses):
Main public transport along fixed routes. Cheap (1,000-3,000 UGX) but crowded, slow, confusing for newcomers.

Special Hire Taxis:
Private car hire (not shared). More expensive (20,000-50,000 UGX typical trip) but comfortable, safe.

Ride-Hailing Apps:
Uber, Bolt widely available. Transparent pricing, safer than random taxis/bodas, cashless payment.

Walking:
Some areas walkable (Industrial Area relatively compact) but Kampala not particularly pedestrian-friendly:

• Limited sidewalks
• Heavy traffic
• Security concerns in certain areas at night
• Tropical heat/sudden rain

Accommodation & Living Costs

Residency Accommodation:
Included at/near Silhouette Projects studio. Details (private room vs. shared, amenities, etc.) should be confirmed with Lara Buchmann upon acceptance.

If Seeking Independent Housing:

• Apartment rental (1-bedroom): $300-700/month depending on area/quality
• Shared housing: $150-300/month
• Short-term/Airbnb: $20-60/night

Food:

• Local restaurants: Meal 5,000-20,000 UGX ($1.50-5.50)
• Mid-range restaurant: 20,000-50,000 UGX ($5.50-14)
• Upscale dining: 50,000-150,000 UGX ($14-40)
• Groceries (monthly): 200,000-400,000 UGX ($55-110) cooking own meals
• Street food: Rolex (chapati with eggs) 2,000-5,000 UGX, affordable and delicious

Utilities (if not included):

• Electricity: Variable, 50,000-150,000 UGX/month
• Water: 20,000-50,000 UGX/month
• Internet: 50,000-150,000 UGX/month for decent speed

Mobile Phone:

• SIM cards cheap, widely available (MTN, Airtel major providers)
• Data bundles: 5,000-50,000 UGX depending on amount
• Many establishments have WiFi

Health & Safety

Vaccinations:

• Yellow Fever: REQUIRED for entry to Uganda
• Recommended: Hepatitis A/B, Typhoid, Meningitis, Rabies (if animal contact likely), routine vaccinations current
• Malaria prophylaxis: Highly recommended (Kampala has malaria risk)

Health Insurance:
Comprehensive international health insurance essential. Uganda has:

• High-quality private hospitals/clinics (expensive)
• Public hospitals (cheaper but often lower quality)

Major Hospitals:

• International Hospital Kampala (IHK) – private, high quality
• Kampala Hospital – private
• Case Hospital – private
• Mulago National Referral Hospital – public, largest

Water:

• Don’t drink tap water
• Bottled water widely available (1,500-3,000 UGX per liter)
• Some accommodations have water filters

Safety:

• Generally safe for expats/visitors with reasonable precautions
• Petty theft (pickpocketing, bag-snatching) common in crowded areas
• Avoid displaying valuables (expensive phones, jewelry, cameras)
• Don’t walk alone late night, especially quiet/dark areas
• Use reputable taxis/bodas at night
• Keep copies of passport/important documents separate from originals
• Register with your embassy

Political Situation:

• Uganda politically stable but occasional tensions
• Avoid political demonstrations/gatherings
• Government sensitivity to criticism—avoid discussing politics publicly
• LGBTQ+ issues extremely sensitive (homosexuality criminalized); extreme discretion essential

Social & Cultural Tips

Ugandan Hospitality:
Generally warm, friendly people. Expect curious questions about where you’re from, what brings you to Uganda.

Greetings:
Handshakes standard. “How are you?” expected (answer “Fine, how are you?” even if not fine). Taking time to greet properly before business shows respect.

Dress:
Modest clothing appreciated, especially outside touristy areas:

• Women: Avoid very short skirts/shorts, revealing tops
• Men: Avoid shorts in formal settings
• Beachwear only at actual beach/pool

Photography:
Ask permission before photographing people (especially children). Government buildings, military, police generally off-limits for photos.

Tipping:
Not mandatory but appreciated:

• Restaurants: 5-10% if not included
• Taxis/bodas: Round up fare
• Hotels: Small tip for porters, housekeeping

Bargaining:
Expected in markets, with boda drivers, for crafts. Not in established shops/supermarkets.

Art Scene Engagement

Galleries & Exhibitions:

• Afriart Gallery (your host institution)
• 32° East Ugandan Arts Trust
• Nommo Gallery
• Xenson Art Space
• Amba Gallery (Kempinski Hotel)
• The Capsule
• Check START journal (startjournal.org) for current exhibitions/events

Events:

• August = Art Month: Kampala Art Biennale, KLA ART festival, Bayimba Festival, numerous exhibitions/performances/talks
• Gallery openings typically free, welcoming
• Artist talks, workshops frequently at 32° East, Afriart, universities

Community:

• Kampala art community relatively small, interconnected
• Easy to meet other artists through galleries, events
• WhatsApp groups for artists, cultural events
• Social spaces: bars/cafes near Afriart on 7th in Industrial Area, various neighborhoods

Materials & Supplies:

• Art supply shops exist but limited compared to Western cities
• Common materials (paints, brushes, canvas) available
• Specialized/unusual materials may need importing or creative substitution
• Hardware stores useful for construction materials
• Markets for fabrics, found objects, local materials

Tourist/Leisure Activities

Within Kampala:

• Uganda Museum (ethnographic collection, cultural artifacts)
• Kasubi Tombs (UNESCO World Heritage Site, Buganda royal burial grounds)
• Gaddafi Mosque (city views from minaret)
• Craft markets (Buganda Road, Uganda Arts & Crafts Village behind National Theatre)
• Live music venues
• Restaurants representing diverse cuisines
• Nightlife (clubs, bars) – vibrant scene

Day Trips from Kampala:

• Ngamba Island Chimpanzee Sanctuary (Lake Victoria)
• Mabamba Swamp (shoebill stork viewing)
• Jinja (source of the Nile, white-water rafting)
• Lake Mburo National Park (wildlife, closest park to Kampala)

Longer Trips (Weekends):

• Bwindi Impenetrable National Park (gorilla trekking – expensive but unforgettable)
• Queen Elizabeth National Park (tree-climbing lions, boat safaris)
• Murchison Falls National Park (waterfalls, wildlife)
• Ssese Islands (Lake Victoria relaxation)
• Sipi Falls (hiking, waterfalls, coffee tours)
• Rwanda (Kigali easily accessible for weekend)

Practical Tips for Residency Success

Before Arrival:

• Join Kampala expat/artist Facebook groups
• Follow @silhouette.projects, @afriartgallery on Instagram
• Research Ugandan contemporary art online
• Pack:
  • Multiple changes of clothes (laundry expensive/time-consuming)
  • Art supplies unavailable in Kampala
  • Laptop/phone chargers (UK-style plugs – 240V)
  • Mosquito repellent, sunscreen, basic medications
  • Good walking shoes
  • Light rain jacket
  • Flashlight (power cuts occasional)

First Week:

• Get local SIM card immediately
• Orient yourself around Industrial Area
• Meet Lara Buchmann, Afriart staff
• Visit Afriart’s other location (Kira Road)
• Introduce yourself to neighbors in creative courtyard
• Visit major groceries/markets
• Locate ATMs, pharmacies, medical facilities
• Exchange money

Building Community:

• Attend Afriart exhibition openings
• Visit 32° East, introduce yourself
• Check START journal for events, attend
• Be open to invitations from other artists
• Share meals with fellow residents
• Say yes to opportunities (within safety/comfort)

Maximizing Residency:

• Establish routine early (studio hours, rest, exercise)
• Don’t overplan every minute—leave space for inspiration, spontaneity
• Balance focused studio work with community engagement
• Document process (photos, notes, videos) for future applications/portfolios
• Attend curriculum sessions seriously—reading/writing strengthen practice
• Seek feedback from mentors regularly, don’t wait til end
• Prepare for exhibition early (framing, titles, pricing, artist statement)
• Network genuinely—relationships outlast three months

Staying Healthy:

• Take malaria prophylaxis religiously
• Drink lots of water (heat, altitude dehydration risk)
• Eat well (street food okay but diversify, include fruits/vegetables)
• Exercise (walking, yoga, gym if available)
• Sleep adequately (jet lag, creative intensity exhausting)
• Reach out if struggling (homesickness, creative blocks normal)

Why Silhouette Projects Matters

Filling Critical Infrastructure Gap

Uganda—like most African countries—faces structural disadvantage in global art world: minimal state support, tiny domestic collector base, limited gallery infrastructure, artists geographically isolated from major art centers (New York, London, Paris, Berlin).

Individual talent abundant, but talent alone insufficient for professional careers. Artists need:

• Studio space
• Materials
• Mentorship
• Critical discourse
• Exhibition opportunities
• Documentation
• Collector access
• International visibility
• Market knowledge
• Professional skills

Silhouette Projects systematically provides ALL these elements in integrated package—addressing not isolated problems but comprehensive ecosystem needs.

Proof of Concept: The “Incubator Model”

Daudi Karungi’s “incubator model” challenges prevalent assumption that art galleries exist solely to sell established artists’ work. Instead, Afriart/Silhouette demonstrate galleries can serve as:

Talent Development Engines:
Investing in emerging artists before they’re commercially viable, nurturing potential, preparing them for success.

Educational Institutions:
Teaching professional skills art schools often neglect (pricing, contracts, fair participation, collector relations, artist statements, portfolio development).

Career Launch Platforms:
Providing first serious exhibitions, international fair access, press coverage that establish credentials.

Long-Term Partners:
Maintaining relationships beyond single show—ongoing representation, continued development, advocacy.

This model requires gallery’s commitment to artists’ growth over short-term profit—sustainable only when successful artists eventually generate revenue supporting next generation’s development. Silhouette’s track record (90% of Afriart roster passing through programs) proves model’s viability.

Challenging “Brain Drain” Narrative

Dominant narrative suggests African artists must relocate to Europe/North America to “make it”—leaving continent for Western art schools, residencies, galleries, collectors. This perpetuates:

• Cultural extraction (African artists serving Western markets)
• Community fragmentation (diaspora disconnected from home contexts)
• Infrastructure underdevelopment (investment flows out, not in)
• Narrative control (African stories told through Western institutions)

Silhouette Projects proves artists can build international careers while remaining continent-based:

• Odur Ronald: Kampala-based, yet exhibiting Liverpool Biennial, Venice Biennale
• Emmie Nume: Art Basel, Liste, EXPO Chicago participation from Kampala base
• Kaleab Abate: Addis-based, Zeitz MOCAA exhibition
• April Kamunde: Nairobi-based, 1:54 London, Investec Cape Town representation

Residency’s integration with Afriart Gallery means artists develop work in Africa, exhibit in Africa, sell through African gallery—keeping economic/cultural value on continent while still accessing international opportunities.

Regional Hub Building

Kampala increasingly functions as East African contemporary art capital:

• Makerere University educating regional artists
• Kampala Art Biennale attracting international curators/collectors
• Afriart Gallery exhibiting at global fairs
• 32° East providing community infrastructure
• START Journal publishing critical discourse
• Design Hub enabling creative entrepreneurship
• Growing gallery/studio ecosystem

Silhouette Projects contributes by:

• Training artists from across region (Uganda, Kenya, Ethiopia, Tanzania, others)
• Strengthening Kampala’s institutional capacity
• Demonstrating viable models for other organizations
• Building networks connecting East African artists
• Attracting international attention to region

As Ugandan art gains recognition (Odur’s Venice/Liverpool exposure, various Afriart artists’ fair participation), entire ecosystem benefits through increased collector interest, curator visits, press coverage, funding opportunities.

Decolonizing Professional Development

Traditional artist development models assumed European/American pathways:

• Art school in London/New York
• Residencies in Berlin/Paris
• Gallery representation in Chelsea/Mayfair
• Museum acquisitions by MoMA/Tate

This framework positioned Africa as periphery—source of raw talent requiring Western validation/refinement.

Silhouette inverts this by:

• Providing world-class professional development on continent
• Centering African contexts/aesthetics/concerns
• Building infrastructure controlled by African institution
• Training delivered by African (and African-based) artists/curators
• Success measured by African standards alongside international recognition

Artists participate NOT to become “international enough” for Western acceptance, but to develop practices rooted in their contexts while engaging global conversations as equals.

Demonstrating Commercial Viability

Persistent myth suggests African contemporary art lacks market/collectors, making galleries economically unviable. Afriart’s 22-year success (including survival through 2020 COVID-19 closures, periodic political instability, economic fluctuations) proves otherwise:

• International collectors discovering African artists through fairs
• Diaspora collectors investing in continent’s culture
• Emerging African collecting class (small but growing)
• Institutional acquisitions (museums building African collections)
• Corporate collections supporting visibility

Silhouette’s integration within commercial gallery demonstrates:

• Residencies can be economically sustainable (not requiring perpetual donor funding)
• Investing in emerging artists pays off through eventual sales
• Professional development increases artwork value (better documentation, clearer concepts, stronger presentation)
• Long-term artist relationships more valuable than one-off exhibitions

Mentorship by Established African Artists

Unlike residencies bringing exclusively Western mentors, Silhouette emphasizes African artists mentoring Africans:

• Professor El Anatsui (Ghana/Nigeria, Venice Biennale Golden Lion winner)
• Professor Ato Delaquis (Uganda)
• Owusu Ankomah (Ghana/Uganda)
• Betty Acquah (Ghana)
• Sanaa Gateja (Uganda, 50+ year career)

This matters because:

• Mentors understand African art market realities
• Share knowledge of navigating Western art world as Africans
• Provide role models demonstrating international success from continent
• Understand cultural contexts informing residents’ work
• Pass down knowledge risk being lost as older generation retires

Intergenerational knowledge transfer strengthens entire ecosystem—established artists invest in emerging talents who eventually mentor next generation.

Comparison to Other East African Residencies

32° East Ugandan Arts Trust (Kampala)

Similarities:

• Kampala-based, supporting East African artists
• Workshop/residency programming
• Community building focus

Differences:

• 32° East: Non-profit, donor-funded, broader programming (workshops, festivals, community projects)
• Silhouette: Gallery-integrated, commercially oriented, focused on professional market preparation
• Complementary rather than competitive—many artists transition from 32° East to Silhouette

Kuona Trust (Nairobi, Kenya)

Profile:
Leading Nairobi residency, visual arts studios, exhibition space, founded 1995.

Similarities:

• East African focus
• Studio provision
• Exhibition opportunities

Differences:

• Kuona: Multi-artist studios, longer-term (6-12 months common), more independent model
• Silhouette: Shorter intensive (3 months), structured curriculum, gallery representation pathway

Circle Art Gallery Residency (Nairobi, Kenya)

Profile:
Commercial gallery with occasional residency programs.

Similarities:

• Gallery-integrated model
• Commercial orientation
• Professional development

Differences:

• Circle: Established 1989, longer history, runs important East African auction
• Silhouette: Newer (2020), more intensive structured curriculum, explicit incubator model

Thami Mnyele Foundation (Botswana, closed)

Historical Context:
Important Southern African residency, supported generations of artists, unfortunately closed.

Lesson:
Demonstrates sustainability challenges for donor-dependent residencies. Silhouette’s commercial integration potentially offers more sustainable model.

Future Directions & Opportunities

Potential Program Evolution

Expanded Cohorts:
As Silhouette establishes itself, might increase from 2-3 to 4-6 residents annually—either larger single cohort or multiple staggered cohorts.

Extended Durations:
Offering 6-month or 1-year residencies for specific projects requiring longer development.

Specialized Programs:
Focused cohorts around specific themes (e.g., textiles residency, performance residency, sculpture residency).

Regional Partnerships:
Exchanges with other East African residencies (32° East, Kuona Trust, Addis Fine Art residencies, Tanzanian programs).

International Exchanges:
Partnerships with European/American/Asian residencies enabling Silhouette alumni to participate abroad while hosting international artists in Kampala.

Curriculum Formalization:
Developing published curriculum other programs could adapt—contributing knowledge to wider residency field.

Alumni Network:
Formal network connecting SP-AIR alumni for ongoing collaboration, mentorship, resource-sharing.

Call for Support

For Artists:
Apply! If you’re talented emerging African artist seeking professional development, Silhouette Projects offers rare comprehensive support. Contact sp@afriartgallery.org to express interest.

For Collectors:
Visit Afriart Gallery (in person or afriartgallery.org), attend SP-AIR exhibitions, purchase work by emerging artists—sales directly enable program continuation.

For Institutions:
Partner with Afriart/Silhouette for:

• Artist exchanges
• Joint exhibitions
• Curatorial collaborations
• Research projects documenting program impact

For Funders:
While commercially oriented, Silhouette could expand impact with grant support for:

• Materials stipends enabling more ambitious projects
• Travel grants for non-Ugandan artists
• Visiting mentor honoraria
• Documentation/publication of residents’ work
• Post-residency exhibition support

For Ugandan Government/Cultural Authorities:
Recognize and support homegrown success—Silhouette demonstrates Uganda can produce internationally competitive artists without massive state investment, but modest support would amplify impact:

• Tax incentives for galleries investing in artist development
• National pavilion support at biennales featuring Ugandan artists
• Arts education funding strengthening talent pipeline

Silhouette Projects – Artist in Residence Programme represents best of what artist residencies can be: not merely providing studio space, but comprehensively investing in artists’ long-term careers through integrated professional development, commercial gallery representation, and international market access.

In just five years (2020-2025), SP-AIR has produced:

• Venice Biennale participant (Odur Ronald)
• Liverpool Biennial artist (Odur Ronald)
• Art Basel Miami Beach participants (Emmie Nume, others)
• Tracey Emin Foundation resident (Emmie Nume)
• Zeitz MOCAA exhibitor (Kaleab Abate)
• Multiple 1:54, Investec Cape Town, Art X Lagos participants
• Prince Claus Award and Mukumbya Musoke Prize winner (Odur Ronald)
• Numerous solo exhibitions at professional galleries

This track record demonstrates Silhouette delivers on its promise—artists exit residency not just with new work, but with fundamentally transformed career trajectories.

The program’s success derives from Daudi Karungi’s “gap-filling” philosophy systematically addressing absences in Uganda’s art ecosystem:

• Gap: Artists need studios → Solution: 150sqm warehouse space
• Gap: Artists need mentorship → Solution: Curriculum with established artist guidance
• Gap: Artists need exhibitions → Solution: Afriart Gallery shows
• Gap: Artists need collectors → Solution: Gallery representation, fair participation
• Gap: Artists need international visibility → Solution: Inclusion in Basel, Venice, Liverpool, major institutional shows
• Gap: Artists need professional skills → Solution: Reading/writing/research assignments, professional development

By integrating residency within commercial gallery, Silhouette creates self-sustaining model—successful artists generate revenue enabling next cohort’s development, avoiding donor-dependency plaguing many African cultural programs.

For emerging African artists seeking to transition from promising talent to professional practice—to create significant bodies of work, develop artistic clarity, build international networks, access global markets, and establish sustainable careers—Silhouette Projects offers rare comprehensive support within thriving East African contemporary art capital.

The residency proves African artists need not relocate to Europe/America to “make it”—they can develop world-class practices, exhibit globally, and build international reputations while remaining continent-based, contributing to regional art ecosystems rather than perpetuating brain drain.

Silhouette Projects isn’t just supporting individual artists—it’s building African art’s future infrastructure, one resident at a time.