‘Tools of the trade’

international art world, we need to put our house in order and develop the ‘tools of the trade’ that sustain our cultural heritage.
It is deplorable to realise that many practising artists do not know the names, grades and uses of paint brushes, papers, paints, sculpting tools or their intended purpose. 
Many Zimbabwean artists approach the creation and production of art based on the technical expertise or limitation of their mentors, teachers and lecturers.
I have sat in on many local formal and informal art workshops and lectures and realise that the fundamental understanding of the range of tools and materials at ones disposal play a major part in determining the type of artwork that is produced.  
There is also a general lack of knowledge in the uses, possibilities of expression and experience that can be achieved by having a wide selection of art tools at the artist’s disposal.
Art departments in Government and Private schools are found sadly deficient in their supply of artist’s tools and materials.
Additionally, a brief random survey conducted personally, revealed a few elitist art shops in Avondale, Newlands and Borrowdale provide art materials for hobby enthusiasts and not for professional artists.
Similarly, most local hardware shops and their sales/marketing assistance have a vocabulary limited to:  “ceiling white and paint brushes”, and have no notion of artist’s materials.
Historically, the Zimbabwean sculptors, through their erstwhile promoters, have imported the tools of the trade since the 1970’s under UDI Sanctions and product shortages.
However, since the attainment of independence in 1980, an improvement in execution and presentation was reflected of the artworks, since some of the artists imported their own tools. 
It is a shame that Zimbabwean industries do not take an interest in the Visual Arts, who are readily marketing the country’s image, through their art, by producing the necessary tools of the trade.
It should be taken into cognisance that between 1981 and 2011, the BAT Workshop in Mbare, has produced close to 290 painters and graphic artists, and 470 graphic designers.
Additionally, the informal apprentice system of stone sculpture has generated,3 690 sculptors country-wide.
These figures exclude private schools, art studios, and the new universities —BAZ Bindura University of Zimbabwe, CUZ Chinhoyi University of Zimbabwe,      MSU Midlands State University, and other arts and crafts institutions.
Having trained in the old-fashioned historical techniques of aqua tint, etchings, lino cuts, wood cuts, mezzo tints, oil painting, conte drawing, aquarelle and water colours, etc., etc.,  I find as an artist that it is important to study and develop the skills and the means of expression in order to  re-generate our tangible heritage and  intellectual property.
Tools of the trade are necessary.  Investing in the arts is not limited to buying, supporting and investing in the art, but being part of the production process — which is the genii of the art.
Dr. Tony Monda Holds a PhD in Art Theory Philosophy, and a Doctorate in Business Administration (DBA), in Post-Colonial Heritage Studies. He is a practicing Visual Artist, Art Critic/Consultant, and a Corporate image Consultant.