Zimbabwe Sculpture: A Tradition in Stone
KISSING LOVERS
By Edronce Rukodzi
Born 1952 Guruve District, Zimbabwe
Rukodzi's "Kissing Lovers," created from Springstone, represents the greeting of
a reunited couple and the strong spiritual bond that ties them together. The two
figures, both seen in profile, merge to create the image of one figure. He most
often sculpts human figures with leaf-like heads and crescent slits for eyes. In
cultural terms, the elongated head shape signifies those who live in the spirit
world, hidden from view beneath a canopy of trees. As with much of his work, a strong
sense of geometry permeates his design.
BIOGRAPHY
Edronce Rukodzi grew up in the Zimbabwean countryside. Rukodzi's rural background
and Shona heritage have always been central to his work. He came upon stone sculpture
at the age of 20; when he visited Henry Munyaradzi, a relative, at the Tengenenge
sculpture community. In 1974, Rukodzi made $6.00 from the sale of his first sculpture.
Ten years later, he began sculpting full-time and soon established himself as a
skilled artist. He's come a long way since then, having shown his work in Germany,
France, the Netherlands, Britain and the U.S. |
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WAITING
By Norbert Shamuyarira
Born 1962 Chinoyi, Zimbabwe
The solitary form in "Waiting" portrays the vulnerability that comes with expectations.
The figure's elongated neck underscores the fragile nature of life while the face
captures a sense of courage and inner-strength. Shamuyarira's loss of significant
family members at a young age is reflected in sculptures that evoke a profound sense
of melancholy. In their shy, self-protective gestures, his forms frequently express
loneliness and despair. Shamuyarira chose the very hard Springstone to use for this
piece.
BIOGRAPHY
Norbert Shamuyarira began sculpting in 1979 with a first-generation master, Bernard
Takawira. For four years, they worked together in Chitungwiza, a community just
outside of Harare. Shamuyarira, who now has a studio just behind his house there,
is considered one of the best second-generation artists. His work is highly personal
and speaks to themes of loss and the strength of the human spirit.
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CONVERSATION
By Agnes Nyanhongo
Born 1960 Nyanga, Zimbabwe
Nyanhongo's strong sense of community and tradition often leads her to interpret
Shona myths and Zimbabwean history. The strong fluid lines of her majestic female
characters reflect the emotional strength and triumph of women. The three figures
in "Conversation" represent the importance of coming together to make things grow
and change. Nyanhongo has expressed, in their wonderful faces, the compassion and
silent strength of these women. The work has been carved out of Springstone and
left unpolished.
BIOGRAPHY
The most accomplished female sculptor from Zimbabwe, Agnes Nyanhongo became interested
in stone sculpting as a child. In the studio of her father Claud Nyanhongo (an important
first-generation sculptor), she began by polishing his work, then carving her own
images. She studied for three years in the National Gallery's artist training workshop
where she was considered an exceptional talent. Her work has been exhibited internationally
and is in numerous public and private collections around the world.
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WELCOME BABY
By Agnes Nyanhongo
Born 1960 Nyanga, Zimbabwe
Nyanhongo sculpts universally appealing figures that relate to her motherhood and
a desire to elevate the status of women in her society. She states, "It is important
for me to record and describe the traditions with which I was brought up - I want
my children to know them. My work will preserve my ideas in stone long after me."
"Welcome Baby" depicts the joyful greeting of mother and child and the tender love
they share. Nyanhongo selected Springstone to use for this piece.
BIOGRAPHY
The most accomplished female sculptor from Zimbabwe, Agnes Nyanhongo became interested
in stone sculpting as a child. In the studio of her father, Claud Nyanhongo (an
important first-generation sculptor), she began by polishing his work, then carving
her own images. She studied for three years in the National Gallery's artist training
workshop where she was considered an exceptional talent. Her work has been exhibited
internationally and is in numerous public and private collections around the world.
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LEAP FROG
By Dominic Benhura
Born 1968 Murewa, Zimbabwe
 Finding his inspiration at home, Benhura
modeled the three joyful children playing "Leapfrog" after his daughters. The figures
in this piece, as with much of his work, are very stylized to evoke a sense of movement
and whimsy. Benhura has incorporated three separate figures, further enhancing the
playful narrative, making it the only work in the Airport collection to use multiple
sculptures. With his chisel, he has also created unique surface textures in the
Springstone that help to distinguish his work.
BIOGRAPHY
One of the country's top second-generation sculptors, Dominic Benhura was born in
the rural outskirts of Harare. He learned how to shape stone as an apprentice to
his cousin, Tapfuma Gutsa, an established sculptor. First, polishing Gutsa's pieces,
later trying out the tools and finally carving his own figures, Benhura developed
a style inspired by the natural environment. He sold his first work at the age of
12 and after finishing high school, joined the residence program at Chapungu Sculpture
Park. In 1995, he began working in a large outdoor studio behind his home, taking
on his own apprentices and sharing his knowledge with other young sculptors. Benhura,
who has traveled and exhibited in Europe and the United States, says he is influenced
more by Zimbabwean life than by his exposure to the world outside.
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PEACEMAKER
By Gedion Nyanhongo
Born 1967 Nyanga, Zimbabwe
Nyanhongo's work is about human relationships; it responds to shifting values in
Zimbabwean culture. His finely rendered subjects combine spiritual energy with social
commentary. In "The Peacemaker," he portrays a bearded elder in Springstone that
is listening patiently to his people while respecting the environment. Nyanhongo,
using the raw stone to define the figures'sbeard and hair, has created a striking
profile that speaks of dignity and wisdom. In many of his sculptures, as in this
piece, he has worked wax into chiseled areas to create distinctive textures.
BIOGRAPHY
As a young boy, Gedion Nyanhongo played with the tools in his father's studio. Nyanhongo,
like his siblings, was inspired by their father, Claud Nyanhongo, to become a sculptor.
He began carving stone in earnest as an apprentice to the late sculptor Joseph Ndandarika.
Nyanhongo completed a residency at Chapungu Sculpture Park before establishing his
studio outside Harare. He is one of the most talented and successful of the second-generation
sculptors with his work being represented in numerous major international exhibitions.
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GENERATION PYRAMID
By Gedion Nyanhongo
Born 1967 Nyanga, Zimbabwe
"Generation Pyramid," with its four figures of different ages, reminds the viewer
to honor every stage of life. This work completed from Springstone showcases Gedion's
amazing technical prowess in crafting finely rendered figures that are full of spirit.
As with much of his work, he finds inspiration in human relationships, paying particular
attention to the family. As Gedion states, "My work must mark stages of my life,
but it must also record the important stages of life around me. This is why I use
the hardest stones such as Springstone, so that people will be able to understand
these things in the years to come."
BIOGRAPHY
As a young boy, Gedion Nyanhongo played with the tools in his father's studio. Nyanhongo,
like his siblings, was inspired by his father, Claud Nyanhongo, to become a sculptor.
He began carving stone in earnest as an apprentice to the late sculptor Joseph Ndandarika.
Nyanhongo completed a residency at Chapungu Sculpture Park before establishing his
studio outside Harare. He is one of the most talented and successful of the second-generation
sculptors with his work being represented in numerous major international exhibitions.
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HWATA (SECRETARY BIRD)
By Amos Supuni
Born 1970 Malawi
Amos Supuni uses a fusion of wood, Springstone and metal to depict this large, long-legged
African bird of prey. The sculpture is the only mixed media work in the Airport
collection, and it denotes a growing trend among Zimbabwe's second- and third-generation
sculptors to incorporate other materials in their work. While most of the works
in the Airport collection depict people, the wildlife of Southern Africa is also
a source of inspiration among many artists. Supuni's adeptness at handling many
different materials pays dividends in his ability to express the intricacies of
his subject matter.
BIOGRAPHY
Originally from Malawi, Amos Supuni has lived most of his life in Zimbabwe. He became
involved with sculpture just after high school in 1989, when he took lessons in
a Catholic youth group workshop set up in Tafara, a community just outside Harare.
His instructor was the gifted Tapfuma Gutsa. Artists Nicholas Mukomberanwa, Joe
Mutasa and the late Henry Munyaradzi have also encouraged Supuni's evolution as
a sculptor. Supuni went to Tanzania in 1991 as part of a cultural exchange program
where he learned printmaking and taught stone carving. On his return, he began to
focus exclusively on sculpting, eventually setting up his own studio at Silvera
House.
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TRAVELING FAMILY
By Amos Supuni
Born 1970 Malawi
Family members are the toes on a gigantic foot in the whimsical "Traveling Family."
The raw chiseled stone of the foot is contrasted with the sanded and highly polished
faces that comprise the toes. Supuni typically works on Springstone, the hardest
stone, because he likes its resistance to his tools. These days, Supuni centers
on social issues like homelessness and poverty, as well as on communal experiences
and cultural icons. As Supuni states, "I sometimes represent the voice of the voiceless.
I'm trying to express something for those who can't express themselves."
BIOGRAPHY
Originally from Malawi, Amos Supuni has lived most of his life in Zimbabwe. He became
involved with sculpture just after high school in 1989, when he took lessons in
a Catholic youth group workshop set up in Tafara, a community just outside Harare.
His instructor was the gifted Tapfuma Gutsa. Artists Nicholas Mukomberanwa, Joe
Mutasa and the late Henry Munyaradzi have also encouraged Supuni's evolution as
a sculptor. Supuni went to Tanzania in 1991 as part of a cultural exchange program
where he learned printmaking and taught stone carving. On his return, he began to
focus exclusively on sculpting, eventually setting up his own studio at Silvera
House.
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GALACTIC DANCER
Tapfuma Gutsa
Born 1956 Harare, Zimbabwe
Gutsa's sculptures embrace new techniques and speak to historic and present day
Zimbabwean culture. He often combines stone with paint, metal, wood, wire, paper
and string in contemporary works that have broad appeal, both at home and abroad.
In "Galactic Dancer," one of the artist's most lyrical works, a young woman with
a dramatic sweep of hair is moving in rhythm with the forces of nature. Her unpolished
yet graceful form is characteristic of Gutsa's style. This work was created from
Springstone, which is a very hard dense stone.
BIOGRAPHY
Some of Tapfuma Gutsa's first creative experiences took place at the Serima Mission
and at the Driefontain Mission School in Zimbabwe. Gutsa was the first Zimbabwean
to receive a British Council award. The scholarship allowed him to study art for
three years in London at the City and Guilds School. Since then, he has been a mentor
to many young sculptors, including Dominic Benhura and Amos Supuni, both represented
in this exhibition. Influenced by his experiences in the international art scene,
Gutsa is the least traditional among the second-generation sculptors. He has expanded
the parameters of Zimbabwean stone sculpture.
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AT ONE WITH NATURE
By Gladman Zinyeka
1962-2000 Gutu district, Zimbabwe
Centering on the environment, "At One With Nature" depicts a man embracing an eagle.
The link between man and nature and the bond they share is poignantly rendered in
this monumental work. Zinyeka stated these feelings about this sculpture, "We are
talking about nature and conserving. It's very different when you go to the communal
lands now, because people realize that the animals should be kept, not hunted,"
he said. "In my work, I want to show what had become impossible is once again possible
" that man and nature can embrace." The stone Zinyeka selected for this piece is
Red Jasper.
BIOGRAPHY
The late Gladman Zinyeka became one of Zimbabwe's most outstanding second-generation
sculptors before dying in 2000. He was separated from his family as a child and
lived with loss for most of his life. In 1980, he moved to Chitungwiza where he
learned how to carve birds and stylized heads by observing local artists. First-generation
sculptor Samson Kuvhengurwa was a mentor to Zinyeka and introduced him to abstract
forms in 1986, a move that greatly enhanced his work. He established a home studio
in 1994, typically keeping more than 50 tons of stone in his courtyard from which
to carve. Zinyeka sculpted lyrical and spiritual forms while passing on the sculpting
skills to his nephew and other apprentices.
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WHO WILL RAISE THE CHILD
By Gladman Zinyeka
1962 - 2000 Gutu district, Zimbabwe
The mother, father and child in "Who Will Raise the Child" lament the AIDS epidemic
that leaves many children without parents. Thematically, Zinyeka's sculptures often
meditate on the socio-economic effects of displacement and urbanization, as well
as ecological issues. The devastating effect of AIDS in Africa was something that
impacted Zinyeka's life and prompted him to create this powerful work. The mother
in this sculpture, with hands clasped together, seems to plead for the safety and
future of her child while the child grasps the legs of the parents in an attempt
to maintain their loving presence. This emotionally moving work was created from
Springstone.
BIOGRAPHY
The late Gladman Zinyeka became one of Zimbabwe's most outstanding second-generation
sculptors before dying in 2000. He was separated from his family as a child and
lived with loss for most of his life. In 1980, he moved to Chitungwiza where he
learned how to carve birds and stylized heads by observing local artists. First-generation
sculptor Samson Kuvhengurwa was a mentor to Zinyeka and introduced him to abstract
forms in 1986, a move that greatly enhanced his work. He established a home studio
in 1994, typically keeping more than 50 tons of stone in his courtyard from which
to carve. Zinyeka sculpted lyrical and spiritual forms while passing on the sculpting
skills to his nephew and other apprentices.
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MADORA (MUPANI WORM)
Nicholas Mukomberanwa
1940 - 2003 Buhera district, Zimbabwe
 Mukomberanwa found inspiration
in his Shona heritage and in his deep respect for the natural and spiritual worlds.
In "Madora" a figure emerges from within a rounded Springstone boulder holding mupani
worms, a traditional food source in Zimbabwe, in each hand. Mukomberanwa's sculpture
expresses man's reliance on nature, suggests that we appreciate the sustenance that
nature provides and comments on the changing face of Zimbabwean culture. His sculptures,
marked by symmetry, high polish and exaggerated features, range from soft, rounded
forms to sharp geometric shapes.
BIOGRAPHY
Nicholas Mukomberanwa, one of the most revered first-generation sculptors, had long
been a guide to many younger artists. As a child, he was introduced to woodcarving
at the Serima Mission School, but not until years later did he begin carving stone.
In 1962, he joined the Workshop School of the Rhodes National Gallery where he was
guided by gallery director Frank McEwen, who had an enormous impact on his art making.
His works can be found in major museum collections around the world. In his life,
through his mentoring of younger artists and with his sculpture Nicholas forever
touched the lives of so many people.
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NZUZU (WATER SPIRIT)
Nicholas Mukomberanwa
1940 - 2003 Buhera district, Zimbabwe
 Buying tons of Serpentine
and Springstone from a mountain quarry near Tengenenge, Mukomberanwa sculpts with
hand tools in a spontaneous reflexive process. He states, "The way I create, and
probably many others do the same, is that I actually get inspiration from the natural
stone. There has to be a dialogue between you and the stone. What I do is highlight
what already has been achieved by nature." In "Nzuzu," a mythical spirit evokes
its transforming and healing power. Mukomberanwa uses the lines of the hair and
placement of the beautifully rendered hands and feet to accentuate the graceful
flow of the horizontal figure and capture the feel of water. The stone Nicholas
chose for this piece is Green Serpentine.
BIOGRAPHY
Nicholas Mukomberanwa, one of the most revered first-generation sculptors, had long
been a guide to many younger artists. As a child, he was introduced to wood carving
at the Serima Mission School, but not until years later did he begin carving stone.
In 1962, he joined the Workshop School of the Rhodes National Gallery where he was
guided by gallery director Frank McEwen, who had an enormous impact on his art making.
His works can be found in major museum collections around the world. In his life,
through his mentoring of younger artists and with his sculpture Nicholas forever
touched the lives of so many people.
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PROTECTED FAMILY
By Joe Mutasa
Born 1964 Rusape, Zimbabwe
For Mutasa, family relationships and their role in a transforming Shona society
are the focus of his narrative style. In "Protected Family," the tallest piece in
the Airport collection, an enormous hand gently encircles a mother, father and child.
Elongated, elegant forms that have highly polished aces that are contrasted by chiseled,
unpolished bodies characterize Mutasa's figures. Mutasa's impressive technique is
evident in the forms he has achieved with many different kinds of stone. The stone
Mutasa used for "Protected Family" is Springstone.
BIOGRAPHY
Joe Mutasa believes he was born an artist. While a young man, he left studies in
public relations to take up sculpting. Working for a local company with his older
brother, Gregory, he began carving Verdite busts and animals. He gradually tired
of realism and became increasingly interested in portraying emotion. His sculpting
changed radically in 1987, when he joined a group of artists working at Chapungu
Sculpture Park. Samson Kuvhenguhwa, a member of the group, inspired Mutasa to become
even more serious about expressing his inner feelings and honing his technical skills.
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EXERCISING MAN
By Sylvester Mubayi
Born 1942 Chiota reserve, Zimbabwe
Made out of Springstone and with its highly polished finish, the fluid figure in
"Exercising Man" is bending and stretching. In contrast to Mubayi's other work in
the collection, which draws its inspiration from the spirit world, he has selected
a facet of contemporary life to translate into stone. The man's face, with its smooth
rounded head and deep penetrating eyes, is characteristic of Mubayi's figures. Through
the years, he has maintained a traditional, intuitive approach to the stone.
BIOGRAPHY
Sylvester Mubayi was introduced to stone sculpture on a visit to the National Gallery
in 1966. He soon joined the sculptors' community founded by Tom Blomefield in Tengenenge.
Having no formal art training, Mubayi worked hard to become one of the community's
leading first-generation sculptors. Mubayi's sculptures gained international visibility
when they were exhibited abroad in the early 1970s. Through the years, he has maintained
a traditional, intuitive approach to the stone and continues to be one of the top
sculptors in Zimbabwe.
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PROTECTING SPIRIT
By Sylvester Mubayi
Born 1942 Chiota reserve, Zimbabwe
Mubayi often merges human and animal worlds in his sculpture, reflecting both spiritual
and earthly themes. In "Protecting Spirit," a spiritual presence with human form
stands guard over children protecting them from harm. With the eye placed in the
figure's hand, Mubayi has created a powerful totemic presence that speaks to the
mystery of the spiritual world. Expressing the spirit world and its connectedness
to Zimbabwean culture is very important to Mubayi. As with most of Mubayi's work,
he used the very hard Springstone for this piece.
BIOGRAPHY
Sylvester Mubayi was introduced to stone sculpture on a visit to the National Gallery
in 1966. He soon joined the sculptors' community founded by Tom Blomefield in Tengenenge.
Having no formal art training, Mubayi worked hard to become one of the community's
leading first-generation sculptors. Mubayi's sculptures gained international visibility
when they were exhibited abroad in the early 1970s. Through the years, he has maintained
a traditional, intuitive approach to the stone and continues to be one of the top
sculptors in Zimbabwe.
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WOMAN SHOWING TRADITIONAL SALUTE
By Edronce Rukodzi
Born 1952 Guruve District, Zimbabwe
In "Woman Showing Traditional Salute," Rukodzi illustrates a respectful salutation
to village elders. His personal style appears in the patterned motifs that embellish
his work. Using a hammer and chisel, he carves lines and geometric shapes in the
Springstone's surface, producing elegant designs and rich surface textures. This
unique surface quality is sharply contrasted with the sculpture's highly polished
eyes, nose and mouth that imbue the figure with a quiet grace. The work reflects
the artists' desire to document and preserve all aspects of Shona culture.
BIOGRAPHY
Edronce Rukodzi grew up in the Zimbabwean countryside. Rukodzi's rural background
and Shona heritage have always been central to his work. He came upon stone sculpture
at the age of 20 when he visited a relative at the Tengenenge sculpture community.
In 1974, Rukodzi made $6 from the sale of his first sculpture. Ten years later,
he began sculpting full-time and soon established himself as a skilled artist. He's
come a long way since then, having shown his work in Germany, France, the Netherlands,
Britain and the United States.
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CARING MOTHER
By Lameck Bonjisi
1973 - 2003 Mutoko, Zimbabwe
Bonjisi, like many Zimbabwean sculptors, drew his ideas from both traditional and
contemporary Shona culture. "Caring Mother" pays homage to a mother's love for her
children and the close bond they share. The Green Serpentine stone's rich color
is dramatically contrasted by the natural brown streaks that have been creatively
transformed by the artist into the mother's hair. His style - clearly inspired by
first-generation sculptor, Nicholas Mukomberanwa - was defined by exaggerated sharp
angles and straight lines. Though much of his work was figurative, he became increasingly
interested in abstractions of the human physique.
BIOGRAPHY
Lameck Bonjisi, whose parents are from Mozambique, was born and raised in Zimbabwe.
He became a full-time artist at the age of 17 with the guidance of master sculptor
Nicholas Mukomberanwa. From 1990-91, he worked as Mukomberanwa's apprentice, and
then went on to establish his own name. Gladman Zinyeka, Gedion Nyanhongo and Lazarus
Takawira have been other influences on his artistic growth. Lameck was considered
one of Zimbabwe's most successful second-generation artists. He is the youngest
sculptor represented in this exhibition.
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HOW CAN I RISE
By Norbert Shamuyarira
Born 1962 Chinoyi, Zimbabwe
 "How Can I Rise" makes a
strong personal statement about the inner strength that may overcome adversity.
The figure, reclining in a posture suggesting grief or suffering, has large features
that are carved in a stylized manner. The large hands are especially expressive
and dynamically reinforce the meaning inherent in the work's title. This work made
from Springstone is the largest ever produced by Shamuyarira, who typically works
on a smaller scale.
BIOGRAPHY
Norbert Shamuyarira began sculpting in 1979 with a first-generation master, Bernard
Takawira. For four years, they worked together in Chitungwiza, a community just
outside of Harare. Shamuyarira, who now has a studio just behind his house there,
is considered one of the best second-generation artists. His work is highly personal
and speaks to themes of loss and the strength of the human spirit.
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