Braun-Dusemond, was not too debilitated by his experience in the camps. Released from the fear of Nazi persecution and worries about money, he was able to draw and paint freely. He channeled the emotions caused by his condition into the production of a series of drawings and sketches. His artistic response to captivity was expressed in three ways – the realistic and abstract caricature of the camp population (clowns and masks abound in this strange human circus), the portrayal of the dream world beyond the prison gates (Africa in a burst of colour) and the Christianisation of his circumstances – Christ as captor and captive. Following his release, in 1942, he enlisted in the British army as soon as former enemy aliens were free to do so. He joined the ranks of the Pioneer Corps and later became a non-commissioned officer in Allied counter-intelligence in Italy and Austria. He was one of the few enemy aliens to keep his German passport throughout his military service. The Reich Citizenship Law of November 1941 which had stripped him of his nationality only made him more determined not to yield it - 'To give up my German passport would have been to give in to Hitler. Hitler said I was not a German, but I proved him wrong.' Kenya (1946-1963) After the war Braun-Dusemond returned to Nairobi to set himself up as a painter, resisting all attempts by the German government to enrol him in their newly re-established foreign service. Painting whenever he could, he surmounted the obstacles caused by his lack of qualifications and his nationality and managed to earn a living by working as a journalist (writing for Der Spiegel and Reuters), cowboy, translator and cinema manager. In 1950 he became a founder member of the Nairobi Puppet Theatre. He painted the scenery for theatre performances at the Donovan Maule Theatre. Although Braun-Dusemond produced many colourful realistic paintings of his surroundings, his artistic inclinations were always focused on the abstract. Early in 1951 he took his paintings with him to London, where he showed them to Sir William Coldstream, the director of the Slade School of Fine Art. Coldstream was so impressed that he accepted him immediately, waiving both the entrance examination and the fees for two terms. Braun-Dusemond received a bursary from the Society of Friends (Quakers) and a grant from the Helen Hay Whitney Foundation. Returning to Africa in