Kay Gasei was born in Lusaka, Zambia, in 1991 and moved to England shortly after his birth. He studied illustration at Oxford Brookes University, graduating in 2014. He is renowned for his distinctive illustrations and paintings that interweave mythological themes with modern contexts. His creations transcend cultural boundaries, incorporating elements from Greek mythology, African folktales, and Asian narratives. Gasei's work, deeply rooted in history, psychology, and philosophy, offers a contemporary perspective on ancient stories, reflecting on the cyclical nature of human history and civilisations.
Painter and illustrator Kay Gasei was born in Lusaka, Zambia, in 1991 and moved to England shortly after his birth. He showed his artistic talent from a young age and as a child he was constantly drawing and painting. Gasei initially aspired to be an architect, but he did not have extensive exposure to fine art or contemporary art and his understanding of being an artist was primarily associated with the ability to draw pictures (Port Magazine). Influenced by his limited perception of what constituted art and his own artistic abilities, he decided to pursue a career in illustration, graduating from Oxford Brookes University in 2014.
Gasei's works are renowned for their thematic exploration of myths. His art transcends cultural boundaries, incorporating influences from Greek mythology, African folktales, and narratives from East and South Asia. With a unique blend of these elements and his interests in history, psychology, and philosophy, Gasei's creations provide a contemporary canvas for ancient stories. He declared, 'I’m into stories and myths. I like details and intimacy, which attracts me to stories because you can find little escapes' (Art Plugged). His work not only revitalises these tales but also prompts reflection on the cyclical nature of human history and the rise and fall of civilisations. In Rhythm of Maa, for instance, he portrays Enkai, a deity from Maasai mythology, against a striking black backdrop which features white line drawings symbolising aspects of Maasai religious rituals and traditions.
Initially, Gasei’s art featured white line drawings of personal significance, showing figures in indulgent, often sexualised poses that symbolised a kind of 'blind hedonism' (Exhibition Crave interview). These early characters, with their soft, curly hair obscuring their sight, embodied a disregard for anything beyond immediate gratification. However, a commission in 2016 concerning the Black Lives Matter (BLM) movement inspired a starkly different character — filled in black, this new figure signified pain and struggle, marking a significant shift from earlier themes. This black figure, with coarse hair and penetrating white eyes, represented an acute consciousness and a profound connection to suffering and reality, a vivid contrast to the oblivious hedonist characters. Gasei acknowledged that while these characters may bear a resemblance to him, they are not self-portraits. His later works often feature pilgrim-like characters, typically faceless, symbolising uniformity and the shared nature of these experiences. Gasei admires artists such as Goya and Hogarth for their narrative prowess and meticulous detail — qualities that resonate in his own practice where every element is meticulously composed to enhance the narrative and emotional resonance. 'Od', a character from Gasei’s university years, is pivotal in his storytelling, originally serving as a protagonist in various universes Gasei envisioned. As Gasei's style progressed from pure illustration to fine art, Od's portrayal evolved, sometimes as a personification of ideas rather than a specific entity. In addition to Od, Gasei’s work recurrently features a couple used to examine the dynamics of emotions and relationships. He deliberately maintains the ambiguity of their cultural identities, inviting a more universal connection to the themes he explores.
Gasei's style is characterised by a fusion of abstract and surreal elements with figurative components. This distinctive mix enables him to convey complex ideas and emotions in a striking visual language. Gasei's method is both swift and direct, capturing the vitality and expressiveness intrinsic to his subjects and the spaces they inhabit. Over the years, Gasei's art has evolved significantly. Initially focused on digital sketches and smaller works, he has moved towards larger canvases and oil paints in 2021, allowing for more detailed and expansive creations. Unlike his illustrations, Gasei's paintings move away from commissioned work, allowing him more freedom to develop his own ideas. His painting style is noted for not being overly photorealistic; he prefers a more playful approach, maintaining a connection to realism while also exploring abstract elements.
In 2021, Gasei participated in the Other Art Fair, the same year, in which he received the Soho House stamp of approval, becoming the first artist-in-residence at their interiors space on London’s King’s Road. Aporia, Gasei's debut solo show, was held at Chilli Art Projects, London in 2023. Gasei's Black Box Series, showcased at Coningsby Gallery in 2023, explored his creative psyche. Described by the artist as ‘noise and brain chatter’, the exhibition presented his large canvases alongside the original sketches, embodying his dynamic thought process and idea generation (gowithYamo). The exhibition emphasised the spontaneous nature of Gasei's work and offered an intimate view into the evolution of his thoughts, from chaotic beginnings in his sketchbooks to the final, polished pieces. Kay Gasei’s work is not currently represented in UK public collections.