Untitled Document

"It is a fact that very few artists of contemporary style do not possess some well digested but evident influences of Africa." ~ Frank McEwen, OBE, Founding Director of the National Gallery of Zimbabwe

The culture of stonework in Zimbabwe is as old as the land from which the stone is quarried and as contemporary as the issues which face us in every day life.

The remains of over 300 stone complexes can be found on the Zimbabwean plateau, the most impressive of which are the ruins of Great Zimbabwe. Built by the ancestors of the Shona people, the towering walls and flowing curves of this settlement enclose over 1800 acres of land. Perched high on its Rapoko stone (soapstone) plinth, the keen eye of the Zimbabwe bird watches over this stone domain, a mute testimony to the grandeur of a civilisation that flourished between the 11th and 15th centuries. Although the days of Great Zimbabwe are long past, the spirit living in the stone waited to be set free.

Shona Sculpture - The birth of a "new" movement
In the 1950's the ancient tradition of stone carving and sculpture underwent a renaissance in Zimbabwe, under the encouragement of Frank McEwen, the founding director of the Zimbabwe Art Gallery. In his obituary, published in January 1994, the Times of London said of McEwen: "His life was devoted to the belief that the highest spiritual values lie enshrined within every individual, and that creating art can draw them out - and especially from the untrained."
Artist, teacher and administrator, McEwen came to Zimbabwe from Paris where he had organised several exhibitions between England and France at the end of the war. A proponent of the Paris School, he was on close terms with the leading lights of the art world of the time, numbering among his close acquaintances Matisse, Picasso, Brancusi, Braque, Leger, Henry Moore and Herbert Read. He followed the teachings of Gustave Moreau, who believed that art should be an expression of individuality drawn from the soul of the artist. Encouraged by Picasso and Herbert Read, McEwen applied for the curatorship of the Zimbabwe gallery and was offered the post in 1954.

The directors of the gallery planned to acquire the works of the old European masters and had allowed no place for the work of local artists, but McEwen had other ideas. He was of the firm belief that art could not flourish unless there was a lively exchange of ideas and culture and that local art formed an essential part of this process. He came into contact with Thomas Mukarobgwa who spoke to him about the Shona belief systems and traditions and he was introduced to the carvings of Joram Mariga. Without further ado, McEwen made space available and soon an informal sculpture workshop was thriving in the gallery grounds.

Another influential figure of this time was a tobacco farmer named Tom Blomefield. He established the Tengenenge Sculpture Community in the late 1960s to provide alternative employment for his workers.

Thanks to McEwen's international connections and promotion the work of the first generation of Shona sculptors gained critical acclaim and by the early 1970s critics world wide had recognised the birth of a "new" movement in Africa. First generation sculptors Bernard Matemera, Henry Munyaradzi, and Joram Mariga gained international recognition. Shona Sculpture was exhibited at the Museum of Modern Art in New York and the Musee Rodin in Paris. Astute collectors realised the value of the work being produced and Shona sculpture was added to the collections of the Rockefellers, the Rothschilds and Queen Elizabeth II among others.

However, McEwen cannot be credited with the birth of Shona Sculpure. Nor would he have wished to take credit for it. If anything, he helped to reawaken a tradition as old as the Shona people. He was terribly excited when he learned that, like Picasso, the sculptors often "dreamed" their work, or waited for the spirit that lived inside the stone to reveal itself. He encouraged artists to draw inspiration from within themselves, from what held meaning for them, to concentrate on connecting their work to the traditions, myths and lore that shaped their lives.

Carving a new identity - the second and third generation sculptors

The War of Independence in Zimbabwe caused a hiatus in the production of stone sculpture. In 1980, the birth of a newly independent nation also saw the birth of new expressions in stone sculpture. The first generation Shona sculptors had concentrated more on the relationship between the world of the physical and spiritual, family life, and the lore and traditions of the Shona people, translating the messages of their ancestors into a contemporary form. Succeeding sculptors - the second and third generation artists - have not eschewed these themes completely. Traditional culture, mythology, folklore, rituals and beliefs in ancestral spirits are still strong influences on their work, as is the relationship between man and nature. However the work of the new generations is more flexible, and incorporates themes of a more universal nature. This is partly due to the advent of women sculptors, partly to the conditions that exist in Africa today, where AIDS, relentless poverty and hardship are crucial social issues permeating the land and becoming powerfully manifest in the artists' work.

Another factor in the shift away from strictly traditional themes is the influence of sculptors from other countries - Malawi, Mozambique, South Africa, Angola and Zambia. Thus while this art form is still widely known as Shona Sculpture, this description is no longer accurate, although it is a useful marketing term because it is so widely recognised. The majority of the sculptors are Shona, but these sculptors from other ethnic groups have added new dimensions to the sculpture now being produced. Common to all work though, is its expertise, the respect it holds for cultural beliefs and the conviction that the stone posses a spirit, its own force that the sculptors are entrusted to express.

• "He who is", the great Shona god Mwari is ever present in the everyday lives of the Shona people. Spirit mediums and N’angas communicate with Mwari through the vadzimu, an invisible community of deceased ancestors who care for the living and are one with every aspect of their lives.
• In the villages there is a sense of order, harmony and simplicity as life continues in a pattern that has existed for generations.
• Elders are treated with respect and reverence. In life they play an active role in all decisions made in the village. In death they guide and protect the family.
• Myths and legends, traditional beliefs and ancient customs, these are passed on from generation to generation. The wisdom of the elders guides, teaches and lives in the hearts and minds of a younger generation.
• The family as it exists today provides an extended system of support, sharing and kinship. The family who have passed on to the spirit world guide and direct those still alive.
• Strong, energetic and resilient - women are a unifying power in Shona life.
• An abstract interplay and interweaving of nature, the environment and humanity are all fundamental elements of Shona culture
• The role of the artist is to comment on the time he or she lives in, to focus on the events and social issues that shape his or her country.

The Chishona word Zimbabwe means 'Great House of Stones' and in the ridges of Zimbabwe, where minerals have mixed and formed for millions of years, there is an abundance of stone of varying types and colour.

One of the most commonly used stones is Serpentine, a hard volcanic rock formed over 2.6 billion years ago. A symbol of durability and immortality, Serpentine is a stone of unique properties and variety. Over 200 shades of serpentine have been recorded, moving through the spectrum from black, brown, green, red and orange to the beautiful pale mauve of Lepidolite. Springstone or Africa Stone is the darkest and hardest form of Serpentine. Other hard types of Serpentine are Leopard Rock and Fruit serpentine. Master sculptors favour these varieties for their regular structure and fine grain.

Verdite is another stone from the Serpentine family. It varies widely in grain and, depending on its chrome content, it ranges in colour from rich emerald green to lustrous golden brown. The swirling grain and vibrant green of Opal Stone make it the most treasured variety of Verdite. An exceptionally hard stone, Verdite is an extremely challenging medium to work with. Verdite is becoming increasingly rare and sculptures made from it are usually very valuable.

The sculptors quarry the stone themselves from small open cast mines often situated on land belonging to the village or the local sculptors It is frequently possible to identify a sculptor's work according to the type of stone used.

"I open the stone." ~ Bernard Matemera - Sculptor

The quarrying of the stone is integral to the sculpting process. Many sculptors believe that the stone begins to speak to them at this stage, and breaks away from its source according to the wishes of the spirits of ancestors lying within it. The right stone is waiting for the right sculptor to find and shape it.

The sculptors wait for the stone to speak to them. Many dream the stone, knowing that the design and form of the sculpture will eventually be revealed to them. The stone knows what it wants to become and the task of the sculptor is to express this in the best possible way.

Artists work outside using non-mechanical tools, which are often handmade. They chip away at the stone with chisels and hammers to sculpt the initial form. This is shaped and refined using small files, tile cutters, metal combs, punch hammers and rasps. The stone is further worked on, using progressively finer emery paper and water. Some areas are smoothed; others left rough, according to the dictates of the sculpture.

When the sculptor is finally satisfied that the shape of the stone has presented itself fully, the sculpture is baked in an open fire. When it is cool enough to handle, wax is applied to all or parts of the surface and the sculpture is polished with a soft cloth. It is only at this point that the stone reveals its true colour, detail and depth. The sculpture is complete.

An enduring tradition
The first generation sculptors, many of whom are now dead, imparted their techniques and wisdom to the next generation. They in turn use this experience as a platform for a new means of expression. When the time comes, they too will pass on their knowledge. The spirit will always live in the stone - made known by those who have passed on to the spirit world, and discovered and realised by the living.