adminand cognisance.
Ambassador Aldo Dell’Ariccia, Head of the European Union Delegation to the Republic of Zimbabwe, says in his forward that the exhibition “. . . is an amazing illustration of the considerable originality of Zimbabwean artists and their ability to respond to the challenge of going beyond their usual themes and setting free their own capacity of expression . . .”
The nine participating artists are Simon Back, Helen Lieros, Thakor Patel, Kufa Makwavarara, Munyaradzi Mugorosa, Misheck Masamvu, Greg Shaw, Cosmas Shiridzinomwa, and Paul Wade.
Masamvu explores the shapes of agrarian implements to create bi-associative imaging.
Mugorosa finds a visual common denominator in the lyrics of popular music from Yvonne Chaka Chaka to visualise his imagery.
Patel takes from a string and bow instrument of traditional Bharvi folk music which is the title of his work. Shaw is moved by the homogeny of African and European influences within music, and interprets Hope Masike’s traditional Zimbabwean song “Hondo” to speak about concerns of the decay of values in society.
He says: “As with all artworks (musical and visual), our own response is conditioned by our context, ‘Hondo’ goes beyond this nation and embodies essential universal concerns.”
Shiridzinomwa listens to the sounds of Fela Kuti to inspire his work. The sharp clear sounds of trumpets and piano turn into pictorial forms.
He says: “The vibrant and energetic music cuts across the air in my studio and somehow lands onto the canvas in a manner that conveys the message of the sounds that made the music”.
Wade’s Twombly-esque calligraphic Abstract Expressionism brings jazz into his search for meaning.
Quoting art critic and author of the seminal book “About Modern Art” critical essays (1948-1997) David Sylvester, he says: “I believe that jazz is the fine art of music and it is the space that confirms the sound.”
His series of works entitled “Miles Upon Miles” read like the Bee Pop Abstract patterns of Miles Davis’s trumpet.
Placed against expanses of white space his fragmented scrafigio is simultaneously both elegant and crudely spontaneous like the Cool Jazz horn improvisations of Miles Davis, Dizzy Gillespie and Charlie Parker.
During the exhibition, Dudu Manhenga and Masike featured as guest musicians.
This experimental transposition of aural and visual senses not only reveals the visual artists’ sensitivity to music but makes one realise how inter-related, inter-dependent and inseparable the two art forms are in structure, sound and form.
Dr Tony Monda holds a PhD in Art Theory and Philosophy and a DBA (Doctorate of Business Administration) in Post-Colonial Heritage Studies. He is a writer, musician, art critic, practising artist and Corporate Image Consultant.
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