Online ReporterMaria Chiguvari
Zimpapers Arts and Entertainment Hub
ZIMBABWE-born London-based documentary photographer, researcher, and writer Jono Terry will have a solo exhibition “They Still Owe Him A Boat.”
Set to open on October 30 at the National Gallery of Zimbabwe, the exhibition delves into the complex history and ongoing impact of Lake Kariba, one of Africa’s largest hydroelectric projects, constructed over 60 years ago.
Through a mix of photography, archival material, oral histories, and fieldwork, Terry’s exhibition sheds light on the human and environmental costs of the project, particularly the displacement of indigenous Tonga people.
“My initial interest in making work about Kariba was sparked when I found out my father wanted his ashes scattered there.
‘The concept of returning to the land, even a land to which we didn’t necessarily belong, struck me as quite powerful.
“This show is a reckoning with my own relationship to Lake Kariba, it is a call to better understand the history of Zimbabwe, and it is a reclamation of the original narratives of the land.
“The lake, Kariba, is one of my favourite places in Zimbabwe.
“It is perhaps where I feel most at home and, for as long as I can remember, it has always resonated with me in a deeply spiritual kind of way,” says Terry.
‘They Still Owe Him A Boat’ explores themes of loss, memory, and resistance, highlighting unfulfilled promises, disrupted traditions, and ignored voices.
The exhibition marks a significant milestone in Terry’s career, establishing him as a critical voice in contemporary African art.
It will coincide with growing global reflection on colonialism, climate change, and indigenous sovereignty.
Terry’s sensitive approach invites viewers into a deeply researched exploration of postcolonial infrastructure, memory politics, and ecological transformation.
He was selected as the Grand Prize Winner of the OD Photo Prize 2022 with his series ‘They Still Owe Him A Boat.’
Terry’s work is primarily focused on post-colonial Africa and his long-term photographic projects aim to unpack and confront colonial history while offering insights into its continued legacy on contemporary African society.
Recently, he has been exploring the social history of Zimbabwe, the country of his birth, and the subsequent politics of belonging that remain since its independence in 1980.
As a grandson of British immigrants to Rhodesia, he is interested in questioning his own belonging as a colonial remnant and navigating the complex landscape of white Zimbabwean identity.
He is motivated by creating a dialogue about the past to decolonise the present.
The core of his practice is rooted in challenging Western, colonial narratives, acknowledging the systems of power that created them, and celebrating the innate beauty of his home.
