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For many Visual Art professionals there is no greater objective than studying at the Rijksakademie in Amsterdam largely because of the idea exchange that is initiated between artists, philosophers and scholars.
Among the institutions alumni are artistic greats such as Piet Mondriaan and Karel Appel who of an experimental background which perhaps was influenced by the innovative outlook that exists at the Rijksakademie.
Admire Kamudzengerere, an adroit Zimbabwean artist who made the cut out of 3000 applicants to the Rijksademie. Kamudzengerere partook in the two-year programme at the institution and found the whole experience unfathomable.
He was granted many opportunities at most prestigious institution of art in The Netherlands and was inspired by the methodology of training that he observed. He naturally found inculcation of knowledge, skill and thought being the next step in his and Zimbabwean Art development therefore he has become an instructor at the National Gallery School of Visual Art and Design in Mbare.
On being asked how his two-year tenure was he said it was hard to measure as it had both negative and positive orientations and this was from his auto deductive point of view. Kamudzengerere managed to stage up to seven exhibitions during that period but he kept his cards close to his chest with regards to selling his artwork. In essence he had unlimited access to equipment Kamudzengerere has now taken up instructorship at the National Gallery School of Visual Art and Design and stresses that this new development in his career will be a means to help him transfer knowledge through teaching art students different techniques and establishing parallel ways of seeing and executing art.
“Artists can create probable solutions and this is something I want to instil in the crop of future artists. Our nation is facing challenges that can be addressed by artists and from what I have noticed elsewhere, the avant-garde initiates innovation.”
Innovation is no stranger to Kamudzengerere, who was most industrious during the period when art supplies were unavailable in Zimbabwe. His work during the hardships was mostly based on recycling; he made paper and paint for himself and used newspaper ingeniously. This in effect was premonitory to what the country can gain from utilising the ideas of its Visual Artists.
“With these students I am working with, I want to foster people who can make life more bearable and add value to everyday life.
“An environment where there is little or no art is more likely to be retrogressive economically and socially as an environment that is inclusive of art and in particular, art that works.”
Online Reporter