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For the esteemed artist, the evaluation of oneself is of the greatest importance.
Work ethic, stylistic development and progress are key in the execution and presentation of good art and it is always practical for the artist to assess their work during a particular period in an unbiased manner.
The objective artist will take into consideration the pitfalls they have experienced in the same vein as the successes they grasp. As one reads through Richard Mudariki’s self-appraisal, the Cape Town-based artist documents the exhibitions he participated in throughout the year of 2014 and makes clarity of the differences between the Zimbabwean visual art subsector and the South African Visual Art Industry (which has a turnover of over R2 Billion).
In this context, the National Gallery of Zimbabwe, (NGZ) conducted an interview with Richard Mudariki, (RM) with regards to his artistic practice south of the border and his plans for the year.
The main port of call was his Zimbabwe Annual Exhibition award winning artwork “8 O’clock News” which took third place at the prolific exhibition.
NGZ: You recently won 3rd Prize at the Zimbabwe Annual Exhibition. What do you think about the reintroduction of this exhibition?
RM: As the creative industries become increasingly important in many economies, as well as in global trade, I feel that the reintroduction of the Zimbabwe Annual Exhibition after so many years is a welcome move. It was, and still is, seen as a means of developing, empowering and promoting Zimbabwean visual artists, and at the same time, showcasing emerging talent from the country, and contributing to the international dialogue around African contemporary art.
NGZ: “8 O’ Clock News” graphically analyses society; the media and their depiction of the truth, what drove you to expressively produce this painting?
RM: I was driven to paint this piece by the continued persecution, torture and public killing of black people around the world, which is regularly splashed all over the media – examples include police shootings in the USA, the Marikana shootings in South Africa, and the issues highlighted by the controversial Exhibit B exhibition, etc.
It is newsworthy for a few days or a month, and then it is forgotten until it happens again.
NGZ: Is “8 O’ Clock News” in any way connected to the theme covered in “Interviewed outside Parliament”? (Live ‘n’ Direct 2010)
RM: No, the two artworks are unrelated, and comment on two different issues.
NGZ: A great number of your paintings are socially hinged, do you believe the artist must be a social commentator?
RM: Every day, all of us react to the society we live in, in different ways -mostly internally, but often externally. Artists express their reactions to social conditions externally through their art. But that does not make every artist a social commentator.
NGZ: Do you think otherwise then, that art should just be created for art sake?
RM: I have always disagreed with the approach of looking at an artwork as an aesthetic object that only exists for its own sake, and the belief that any other application threatens to harm its integrity. It makes no sense that art should be seen in isolation with no purpose outside of itself. It is clearly evident that art has a philosophical, decorative, spiritual, economic and social purpose.
NGZ: Triangular forms such a paper planes and arrows are ever present in your work. Are these symbolic running in themes?
RM: Yes they are a symbol stands for something that is difficult to show in a painting. These specific symbols represent a force, a movement. They show that the scene is not static; things are moving up and down, flying around.
NGZ: In your opinion, which environment is it easier for the artist to ply their trade; Zimbabwe or South Africa?
RM: Any good artist should be able to thrive in any environment. However, in this business, an artist’s success has much more to do with how he or she is able to interface with market forces: the galleries, curators, collectors, etc. It has to do with the context of the art world. In South Africa that context is far more mature and robust when compared with Zimbabwe, or any other African country.
For the esteemed artist, the evaluation of oneself is of the greatest importance.
Work ethic, stylistic development and progress are key in the execution and presentation of good art and it is always practical for the artist to assess their work during a particular period in an unbiased manner.
The objective artist will take into consideration the pitfalls they have experienced in the same vein as the successes they grasp. As one reads through Richard Mudariki’s self-appraisal, the Cape Town-based artist documents the exhibitions he participated in throughout the year of 2014 and makes clarity of the differences between the Zimbabwean visual art subsector and the South African Visual Art Industry (which has a turnover of over R2 Billion).
In this context, the National Gallery of Zimbabwe, (NGZ) conducted an interview with Richard Mudariki, (RM) with regards to his artistic practice south of the border and his plans for the year.
The main port of call was his Zimbabwe Annual Exhibition award winning artwork “8 O’clock News” which took third place at the prolific exhibition.
NGZ: You recently won 3rd Prize at the Zimbabwe Annual Exhibition. What do you think about the reintroduction of this exhibition?
RM: As the creative industries become increasingly important in many economies, as well as in global trade, I feel that the reintroduction of the Zimbabwe Annual Exhibition after so many years is a welcome move. It was, and still is, seen as a means of developing, empowering and promoting Zimbabwean visual artists, and at the same time, showcasing emerging talent from the country, and contributing to the international dialogue around African contemporary art.
NGZ: “8 O’ Clock News” graphically analyses society; the media and their depiction of the truth, what drove you to expressively produce this painting?
RM: I was driven to paint this piece by the continued persecution, torture and public killing of black people around the world, which is regularly splashed all over the media – examples include police shootings in the USA, the Marikana shootings in South Africa, and the issues highlighted by the controversial Exhibit B exhibition, etc.
It is newsworthy for a few days or a month, and then it is forgotten until it happens again.
NGZ: Is “8 O’ Clock News” in any way connected to the theme covered in “Interviewed outside Parliament”? (Live ‘n’ Direct 2010)
RM: No, the two artworks are unrelated, and comment on two different issues.
NGZ: A great number of your paintings are socially hinged, do you believe the artist must be a social commentator?
RM: Every day, all of us react to the society we live in, in different ways -mostly internally, but often externally. Artists express their reactions to social conditions externally through their art. But that does not make every artist a social commentator.
NGZ: Do you think otherwise then, that art should just be created for art sake?
RM: I have always disagreed with the approach of looking at an artwork as an aesthetic object that only exists for its own sake, and the belief that any other application threatens to harm its integrity. It makes no sense that art should be seen in isolation with no purpose outside of itself. It is clearly evident that art has a philosophical, decorative, spiritual, economic and social purpose.
NGZ: Triangular forms such a paper planes and arrows are ever present in your work. Are these symbolic running in themes?
RM: Yes they are a symbol stands for something that is difficult to show in a painting. These specific symbols represent a force, a movement. They show that the scene is not static; things are moving up and down, flying around.
NGZ: In your opinion, which environment is it easier for the artist to ply their trade; Zimbabwe or South Africa?
RM: Any good artist should be able to thrive in any environment. However, in this business, an artist’s success has much more to do with how he or she is able to interface with market forces: the galleries, curators, collectors, etc. It has to do with the context of the art world. In South Africa that context is far more mature and robust when compared with Zimbabwe, or any other African country.
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