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Varied Reviews On Zimbabwean Stone Sculpture
“This is the birth of a great national art, capable of speaking about the whole of Creation, from personal and family to the world of spirit, soul and self. It is a thrilling adventure of contemporary art.” Arts
“There is a widespread assumption today that art must necessarily be international. …. But against this trend one finds isolated pockets of resistance, which suggest that good art can (perhaps must) be a local affair – the product of a particular place and culture. And of the one of the most remarkable in the contemporary world is the last 30 years …. placed beside the dismal stuff so beloved of the international art bureaucracy – as they were in the 1990 Biennale – these African carvings shine out in a desolate world.” The Sunday Telegraph, “… Sango, who is the only Zimbabwean whose work is mainly abstract, appears as a follower of 1930’s cubism but he has had, in fact, no exposure to Western Art” Lionel Philips, England “Is the making of art a natural human activity and has every one of us therefore, an innate capacity to contribute something individual to art. Most of us would hesitate a little before answering “YES” to the first question – recalling some of the unnatural monstrosities paraded in the name of art in our time; and hesitate even longer before admitting the possibility of a potential personal contribution. However, it is the simple, glorious naturalness and unforced individuality of the exhibition of sculpture by Henry Munyaradzi – or “Henry of Tengenenge” as he is popularly known – at the Commonwealth Institute until July 31, which gives a Triumphant “YES”. To both questions, in a way that will delight visitors of all ages.” Michael Shepherd, Sunday Telegraph,
“Henry’s interest is sculptural perfection. He remains close to an aesthetic of art for art’s sake. His work has a highly individual stylized stamp, and is readily appreciated and understood by a Western aesthetically orientated public. The subjects of his sculptures are presented as an intersection of hard edged geometrical forms, or softly rounded shapes. His sculpture beautifully expresses contemplation and spirit. Animals, plants, birds, insects and reptiles are characterized according to the essence of their natures – with strength, gentleness, alertness or ferocity. Animal metamorphosis, spirit possession and magic reveal underlying primitive roots of thought. His starkly simplified heads bear titles such as “Mango Head”, “Shovel Head”, etc., titles which describe each of the sculptural forms.” Christopher Till, Director National Gallery of Zimbabwe. “All the work is based on simple – uncluttered form – and it makes a bold and powerful statement. It’s as uncontrived as you can get, yet as sophisticated as anything you’ll find anywhere. Henry’s work is intuitive – he is sculpting forms which more ‘cerebral’ artists take years of refinement to arrive at. The smooth solid texture of the compositions reflects an easy, natural, unstrained style. All the forms are valid when viewed purely in an abstract context. They have gone beyond having to assume a given identity in order to be worthwhile. But most of the work is executed within the framework of a given image – it succeeds admirably on both levels – the abstract and the literal. Henry’s is a world – class talent.” June Levy, Financial
“The sculptor is concerned with the formal and expressive aspects of his medium, and there is an almost inevitable fusion of idea and material which is the essence of all good art… Henry’s diminutive and easily overlooked ‘Hornbill’ – a carving of wonderful simplicity – is possibly the finest, because of its purity of shape and the economy of its means.” Andrew Verster, Daily News,
On the occasion of the group exhibition in Musee Rodin, Claire Polakoff, African Arts, Henry’s One Man Exhibition 1984 Commonwealth Institute. “Michaelangelo’s spiritual ideal, of the individual form waiting to be released from the individual stone, is even more apparent here than I n Michaelangelo’s own marbles.” Michael Shepherd, Sunday Telegraph, “Like Paul Klee, Henry takes a line for a walk, but reins it in after the first steps.” Celia Winter-Irving, Art Critic and Director,
On the opening of Henry’s One Man Exhibition at the Commonwealth Institute.“The evocative nature of these sculptures, which reflect the spirit of the Shona people and their ancestors, is bound to impress, stimulate and inspire. No one looking at them can feel indifferent. We are delighted that Henry is able to be with us, among his own treasures, which are the work of a truly dedicated artist. It may be difficult for some people to wake up to the fact that quite suddenly, a small country in the heart of Lord Chelwood of Lewes,
Sculpture is probably the most befitting art that celebrates a true Zimbabwean culture. The name Zimbabwe itself is a celebration of stone buildings and sculpture that the earliest inhabitants of this country are believed to have been experts in. Dzimba dzemabwe “houses of stone” is a celebration of the artistic urge that drew the forebears of this country to the call of stone and gives meaning and significance to this ancient country’s rich history in stonework.
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Fifty years after its emergence to the world on any large scale, Zimbabwean Stone sculpture is now hailed as one of Africa's most original and internationally praised artistic movements. This informed retrospective reflects upon the origins and development of this movement and discusses some of the challenges it continue to face. With its full-colour plates divided into six decades, this book showcase those artists who have made Zimbabwean stone sculpture so unique – from the first artists to those of today, and from the very well known to the sculptors who still work behind the scenes (who still wait for recognition), to all those who create or have created with unfaltering imagination.
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