adminAnywhere in the world it is very difficult to see art remaining within the confinements of family circles to the extent it has been done with the sculpture movement in Zimbabwe.
The issue is very simple to understand because who from the Moore family has become a stone carver?
Of course, they can be some artists outside the Zimbabwe circle who have relayed their art and skills to family members but, these can never be measured or equated to the stone sculpture movement in Zimbabwe. Debra Usher, the editor of a Canadian magazine says: “Zimbabwe is the only country on the African continent with an internationally recognised stone sculpting movement.”
The beauty of the Zimbabwe movement is that it takes new forms and styles along the movement. Master stone artists in Zimbabwe, whom most of them are now gone, did not waste time to inculcate their skills to the extended family. The creation of new art forms and techniques by new artists makes the movement unique and as this process is repeated more generations are created and the movement stays longer.
The late Anderson Mukomberanwa is a good example who transformed the basics that he acquired to create his own style and identity. His concepts and techniques were so powerful that if he were still alive today he would be classified amongst other avant-garde artists like Tapfuma Gutsa, Gideon Nyanhongo and Dominic Benhura. The genius of Anderson can be linked to Nicholas at some level but Anderson created Anderson Mukomberanwa.
So even if the stone sculpture movement in Zimbabwe partially becomes a family issue it will remain very attractive and beautiful as long as new and young artists continue to divorce themselves from the influence of their masters. The uniqueness of the movement can work to the advantage if it is done with caution.
Artists like Henri Matisse, Paul Klee, Edward Hopper and Marc Chagall had their own students but we hear little about the students being their family members. Maybe that is the beauty of their art.
However, the Zimbabwe sculpture industry is open to everyone and at times those who do not have links to family of artists tend to do better because they face little influence from day to day.
The major issue whether one is an artist as a result of the extended family or not it is that one just needs to be original and versatile.
Some young artists have actually argued that it is sensible for them to take over the style and art of their family members but if the truth be told we can only have one Henry Moore, one Pablo Picasso and one Nicholas Mukomberanwa.
The sculpture movement in Zimbabwe is hungry for new concepts and techniques and the extended family of artists and those outside that circle have some strong obligations to meet those standards and quench that thirst. Family members should break away from tradition and those coming in from the outside should bring in new ideas rather than entertain and settle on what is already there.
The future of stone sculpture in Zimbabwe looks bright as long as new and old artists create new techniques and concepts. “The more technique you have, the less you have to worry about it. The more technique there is, the less there is.” — Pablo Picasso (1881-1973)
Online Reporter