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Mirroring The Times In Sculpture With David Ngwerume

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Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
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I am sure we all can agree that the beginning of the year 2020 was a rude awakening wrapped in a global event for the books due to the Covid19 pandemic. Zimbabwean sculptor slash Lawyer, David Chengetai Ngwerume, took to his creative outlet to not only process but provide a map for future generations in the form of his work, ‘The COVID-19 Pandemic Collection’ that has taken the world by storm.

According to Ngwerume, art “…is a duty and calling…”

The 40-year old’s sculpting journey started in the humble communal lands of Musana in 1995 under the instruction of revered fellow sculptor Cosmas Muchenje. He continued to excel in his academic studies as well which led him to an LLB (Bachelor of Laws, Honours) in 2006 from the University of Zimbabwe.  

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
One of Ngwerume’s pieces

According to Ngwerume, “Art is a duty and calling that I persistently continue using various forms mainly in Stone Sculpture in invoking thought into Humanity, share awareness with the contemptuous world.” Ngwerume’s sculptures have been exhibited all over the world from Hong Kong (China), Canada to the United States of America, and locally in Zimbabwe at the Hebert Chitepo Memorial. 

“My ambitions are global so I am in for it; it’s not always about where you are but where you are going.”

The sculptor’s ‘The COVID-19 Pandemic Collection’ comprises of pieces such as ‘MJ’ inspired by the pop icon Michael Jackson, encouraging people to mask up and get vaccinated. Another piece in the collection is called, ‘We are Torn’ which encourages people to sneeze into their elbows.

He is currently working on two other collections:

  • ‘Thy Next World Collection’ which addresses concerns pertaining to humanity as we move into the future;
  • And ‘Taking the Reins Collection’ which looks at the advancement of the world through the relationship between people and horses and their loyalty to humanity.

Ngwerume’s art is a reflection of the times and he is not stopping any time soon. He is also responsible for the iconic ‘Scales of Justice’ sculptures situated in front of the High Court in Zimbabwe’s capital, Harare and the second capital, Bulawayo. We got to chat with the sculptor.

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
  • The first question is probably something you get a lot, but I just have to ask; how did you manage to find yourself in the world of law and sculpting? To us laymen, the fields look so vastly different.

I am a hard worker and I believe staying in work in both professions has made me invincible. The modern-day world is driven by skill and knowledge and it is acquired by putting in more effort.

“As a creative I also can tell you inspiration is everywhere, everyday life is filled with endless sources of influence.”

  • Have you ever found yourself in a position to choose between the two (law and sculpting) or a situation where one had to suffer for the benefit of the other?

Never! My ambition has always been to do more and I believe amongst the many I do I can manage both. If anything my professions feed off each other in a way.

  • What is the intention of your art?

To influence change in this world and make it a better place through various mediums from Stone Sculpture, paintings, installations and various other mediums in portraying contemporary messages that invoke thoughts into humanity towards shaping their moment in times and make this world move towards positive thinking. 

  • In a past article, it is mentioned that you draw inspiration from your experience practising law; can you remember the first case that inspired an exhibit? Why did you find the case worthy of being your muse?

The first case I got inspired by was a Domestic Violence case. It motivated me to do a painting titled, WOMEN – STRUGGLE from the CRADLE. It was the extent of damage this particular domestic abuse case had inflicted on those involved that moved me to create.

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
Ngwerume with more of his work.
  • In another article it is mentioned that you mostly use serpentine stone, why is that?

I use various types of stones in my sculpting, like Spring stone, Opal, Lepidolite and Granite. It all depends on the message I intend to portray.

  • Would you say you have any sculptors who either they personally or their work influences your work?

I am inspired by many sculptors like Michael Angelo, Gustav Vigeland and Dominic Benhura to name a few. As a creative I also can tell you inspiration is everywhere, everyday life is filled with endless sources of influence.

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
  • Sculpting isn’t really popular in Zimbabwe, how can you say the sculpting scene is in Zimbabwe? Is there a support structure from fellow sculptors or it’s more of finding your own way?

Zimbabwe in a nutshell is about finding your way, but the upside of today’s world is that it’s a global village. In this global village, if you do your best, the world will always notice. My ambitions are global so I am in for it; it’s not always about where you are but where you are going.

  • Could you please try explaining to us the creative journey you took in creating your popular COVID 19 Gallery?

The COVID-19 Pandemic is a global event affecting us all, and as an artist, I found it prudent to play my part in capturing the moments and share my views on Awareness and Vaccination.

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
Ngwerume’s piece ‘MJ’
  • In making the exhibit MJ, how did you hone in on making the sculpture about the U.S pop star Michael Jackson?

MJ was the first public figure to move around wearing a mask, and his actions were early warnings of our reality, where the air we breathe is not safe as before because of COVID-19. His messages then were foretelling.

  • According to New York-based art dealer Shingirai Mafara, your pieces are going to be part of the United Nations World Health Organisation permanent collection. Such an achievement, congratulations! How does knowing your work will live on long after you are gone feel? One could call it time travel of sorts, conversing with future generations.

I believe art is a reflection of perception and I am grateful for such higher strides being attained through my ingenuity. It is humbling to know that my work will inform, maybe even inspire future generations all over the world.

  • How has it been coming into contact with big art dealers like Shingirai Mafara and do you think that has or will affect your style or subject matter moving forward?

Such dealers inspire my work and further my will to create and give me higher hopes that my art will be seen globally.

Mirroring The Times In Sculpture With David Ngwerume Asante Afrika Magazine
Ngwerume’s piece, ‘Halt Child Marriages’
  • Your most recent exhibit, “Halt Child Marriages” is definitely one for the times. As a man, where do you think the root problem lies in Zimbabwe’s child-bride pandemic?   

The issue when it comes to child marriages is pure ugly GREED. The greediness in those men is uncalled for, it’s dirty, it’s illegal and it is immoral to view the young Girl Child as an object. We need to right such wrongs, and I am more than happy to lend my artistry to the cause.

(All pictures used are courtesy of David Ngwerume’s Facebook)

Interviewed by Hazel Lifa

hazel@asanteafrika.net

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Features

Moonchild District is in the Building and Propelling Young Artists Forward !!!

An interview with Moonchild Rye, founder of Moonchild District. An arts movement in Zimbabwe.

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Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
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HAZEL Q. LIFA

Creativity of the brain is low key blasphemy…

What do you do when the world doesn’t make it easy for you to do what you are best at? Give up and call it a day? A young poet from Zimbabwe turned to the avenue of innovation and created a space for himself and other creative like himself. For many creatives in Zimbabwe finding a space let alone an uncensored environment where one can express themselves and create is a challenge.

The African nation’s economic challenges have left the Arts sector in a bit of a bind as creatives are finding it hard to connect with their peers; find welcoming communities and realise financial gain from their artistry. Thus sadly many are leaving their art for more stable professions. But the resilience of poets like Moonchild Rye aka He of the Moon formerly known as Prince Rayanne Chidzvondo has led to the birth of a powerful alliance of creatives and a worthwhile business. 

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild Rye

Zimbabwe is heavily talented, the only problem is, how can the art industry thrive in a state where no other industry is functioning. It’s not a shock when people won’t pay a $2 ticket to hear you perform, to a majority, it’s soft life, a luxury they cannot afford.

According to Moonchild Rye, “The system is also very conservative, you find that they’re still hiring Albert Nyathi years after his prime has long been established, do you not think we have other poets in Zim? Either way, Moonchild District will be the change to all this. We will make it hard for them to ignore us.”

Poetry is not my calling; I called it in order to find ways to heal myself.

Moonchild rye

Moonchild’s poetic journey (pun intended) began as early as grade 7. Despite imaginable discouragement from family Moonchild Rye remained optimistic. Moonchild Rye proudly states, “I speak the audacity of greatness into my bones; my ancestor’s whispered a talent into my marrow that sings in my head and heart, my hand dances when it writes. I am the voice of a generation and the generation of this voice.”

Moonchild Rye started off his fast-growing arts movement in May of 2021 with Moonchild District’s Night of May, which was a huge success followed by a slew of sold-out Moonchild District events. We caught up with the poet/media practitioner/digital marketer/content creator.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild Rye with guests at a Moonchild District event.

Can you take us through your journey to realizing poetry is your calling?

I started writing when I was 12yrs and performed for the first time for a crowd at a Highlands Primary School’s Academic Eve. Poetry is not my calling; I called it in order to find ways to heal myself. Writing is a process of healing, recollection and establishing a path back to myself. It is a lie if you ever hear someone say, “I write for people”. It’s only the adult in me who has chosen to become a full-blown storyteller but I speak my heart, my healing, and my purpose. I speak the revolution betrothed to my tongue way before I was born.

Do you have any particular cause or topic you enjoy tackling with your poetry or do you create as you are inspired?

I create as inspired, but I have generally gravitation toward issues of mental health and human rights. I’m also a bit of a love poet. Like I said, writing for me is healing. They are words, stories and poems that are razors under my tongue. The poems I resist dig deeper into my chest like a buried soul mate.

They grow blurry and distant until I can’t find the sharpness but I can still taste how it made me feel. The feeling of poetry inside me can be like a dull hunger, the distorted memory of a bite. I can’t explain my creative process, it’s like magic spread over time and I’ll be the closest thing to God. Creativity of the brain is low key blasphemy. We are all creators.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Call Me Refined on the Moonchild District stage.

What was your first impression of the Zim arts scene when you started?

My first thought was “There’s no one or anything like me, they need me and my mark is different.” This was in 2015 when I stumbled upon my first open mic scene.

Zimbabwe is heavily talented, the only problem is, how can the art industry thrive in a state where no other industry is functioning. It’s not a shock when people won’t pay a $2 ticket to hear you perform, to a majority, it’s soft life, a luxury they cannot afford.

I also saw the hunger of many artists and in my head, it was always my father reminding me I would not amount to anything, I believed it because the people I saw were hungry, with guitars on their backs and Shakespeare’s sonnets on their tongues. I saw an industry I didn’t want to be part of, but it’s the need to do things differently that persistently calls me to continue pursuing my dream and the dreams of others like me. I vowed to take business to the arts, a work in progress still.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Artists preparing to take the stage at a Moonchild District event.

Most of all, I found family. I found people who were willing to accept the difference I had been persecuted for. I found belonging. I found the oneness of my heart, mind, body and soul. I found that there were stars that stammered to lend us the words we lost in the darkness. I found I was a writer, a content creator, a creative, and a storyteller, I found myself closer to the things that gave me joy, I found a path and purpose. I found a light in the midst of darkness. 

You mentioned instances of censorship in Zim’s creative sector; care to tell us about the worst case you experienced? You don’t have to mention names.

Everyone is an active gatekeeper of your work because they are scared for you. They tell you what to say, or how to say it, they ask you to rephrase, to remove something completely, and not mention names. They remind you of so and so who went a similar way. When my mother hears me planning, she asks “Is this what you have really chosen?” not to say she doubts my career path, it’s the way she says it, the look in her eyes to say “are you safe?”

Artistes are not safe.

We are not safe from ourselves, we are not safe among ourselves.

We are not safe in the world.

No one is safe. Our minds are surely ours but our bodies? Our bodies have never belonged to any of us really; we suffer because of the bodies that house our gifts. We are the voice of a generation but the system will always find a way to silence us.

Your experience as a creative in Zimbabwe led you to create Moonchild District, what was the thought process behind its epiphany?

I was tired of gravelling for people to include me and see me. When people won’t give you a seat at the table, create your own fucking table, one day they’ll wash your feet and massage your guests. In other words, I am going for everything they said I’d never have or do. Moonchild District is the love child of rejection and determination, they know I’m unstoppable but people tried to make me feel small so I would reduce myself to fit their narratives.

Moonchild District is a movement of artists like me; we outcasts have to stick together.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Moonchild District audience enjoying the masquerade event.

So far what is your favourite Moonchild District event to date and why?

Every show is unique in its way; we are constantly trying to outdo the last event. The masquerade, however, had us host our biggest show with the biggest audience. So I think it’s worth noting that our audience grows bigger.

Which Moonchild District event proved to be hard to put together and how did you power through?

I hosted a show where 6 out of 10 performers didn’t turn up. I had to open the floor to the audience; fortunately, this is how we ended up hosting open mics. The audience loves the mic just as much as we do. Also, the financial aspect of every show we host always has me sleepless and anxiously biting my nails. We are an unfunded movement, and it’s not pretty.

Specifically, who is the Moonchild District movement open to and how can interested creatives join?

Moonchild district is a movement, I merely lead it. For one to join, they simply follow the movement and drive us where their heart seeks.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Ndanatsa gracing the Moonchild District stage

Where do you see your career as a poet and Moonchild District in the years to come, let’s say five years?

I say this on behalf of the whole group; we are trying to feed ourselves, grow ourselves, to just make it to the next day. 5 years is a long time, today is survival, and so is tomorrow. That’s what counts right now. There’s no blueprint to this life thing. I am a visionary who is still scared that I’ll die with my visions whilst everyone fights to stay alive well after I’m gone.

With Moonchild District’s business aspect, what do you consider yourself to be more of a poet or businessman?

We just want to earn money through our crafts like anyone else. Why shouldn’t the words that feed your soul pay my bills? Why do we represent our culture and creativity when it can’t even raise a morsel of sadza to the lips? We want money. We are also motivated by money. We also want to write, sing, and speak for money. We want to be taken seriously like everyone else.

Any thoughts on how to further improve Zimbabwe’s Arts space?

A lot still needs to be done. We still live in a world where it is not viable to be an artist. The economy quite sucks, it’s hard to create sustainable and consistent development. Artists need strong support and administrative structures to help them build and grow. They also need to come together to harness and create art collectively, whilst sharing resources, contacts and information.

Organizations in Zimbabwe would like you to believe they’re helping everyone by funding a favourite or regular, but the truth is a lot of artists are failing to sail off, even to begin. Resources, information and platforms are accessible to a few who use this for themselves whilst artists part of their movements or projects feed off ‘exposure’.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Thando on the Moonchild District stage.

Everyone by now knows Exposure will not pay bills or feed you.

The government would like us to believe they’re helping. There’s no platform for poets, for writers, they care about sports and Jah Prayzah, the rest of us are unseen, no matter how hard we try.

The Ministry of Youth, Sports, Arts and Recreation established a relief fund for artists in 2020, but it’s not a full substitute for lost earnings. And as you may suspect, this was clouded with corruption and nepotism, just like everything else in this country. If Moonchild district can conquer these problems in the next 5years, we can be the leading creative hub in the region:

  1. Lack of resources to create, manage and commercialise creative art in youth consequently hindering growth and sustainability for creative youth in Zimbabwe.
  2.  Lack of guidance socially, financially and mentorship towards harnessing their creative energy from a young age, there is a need to fight the archetype of the broke creative which is a stereotype that has made many lose before they began.
  3. Dependency on informal labour and gigs in a demanding economy, leaving most creatives to abandon the creative economy chain.
  4. Administrative structures are also lacking in most creative groups. Most creatives fail from trying to be everything, from the leader to the writing, the script, recruiting artists, paying them and booking venues, accounts, reviewing their own lawful agreements etc. There are also no structures to mobilize these diverse creatives into hybrid content creators.
  5. Failure to adapt to the emerging social and cultural changes in media and production, especially in the Covid 19 era.
  6. There is not enough mainstream representation of creative arts and artists to communicate value proposition, most creatives are swapping their creative talents for priorities that feed them. There is not enough integration between creative art and communities
  7. The lack of hybrid, quality, competitive content from creatives because of a lack of resources to collaborate with other creatives or assemble production requirements and surpass its value. This hinders the growth of the Zimbabwean creative economy as content remains incompetent no matter the invested talent under limited resources.
  8. There is no support for creative start-up businesses and innovations, the government does not guide or finance start-up businesses and creative entrepreneurship.  They lack micro-enterprises that represent them as external entities that would like to support the creative sector in more substantial ways.
  9. There are no cross-sector partnerships to play an integral role in the effective use of the arts and creative industries for maximum promotion and productivity of the creative youth. They’re only limited to what they know, platforms that do not pay for exposure and cannot build sustainable growth beyond the creative industry.
  10. Creative youth are 3 times more likely to suffer from depression, there are fewer resources equipped to provide artists with mental health care and self-navigation, making drugs, unproductivity and suicide a commonality within creative communities. Art can be used for healing, as therapy both to the creative and their audience.
  11. The lack of spaces and platforms for artists to meet, socialize or work on their projects and gather resources. There are not enough spaces that allow their freedom of expression to build towards their highest potential, and surrounding environments are hostile and unaffordable for the average creative youth. There are no platforms for them to manifest their ideas and visions without in house gatekeeping. Artists need spaces and platforms that allow their wings to grow, that allows them to rise up to the task and excel in their fields.
  12. Creatives lack information that allows them to excel towards sustainable growth. Creatives who are empowered with business management and technical knowledge concerning their crafts are able to make wiser decisions concerning the direction of their art and how to build a successful enterprise from their work. They lack the skills needed to present themselves, build their individual brands and access the beneficial necessary information to drive them forward. 

Do you have any particular creatives you wish to work with and why?

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Chengeto Brown

Ah yes! Chengeto Brown – she’s poetry walking. Hope Masike  – I stan a legendary queen and Dudu Manhenga. Also, anyone else there making strides, poetry really can be infused anywhere and with anything. Take us to fashion, and music, we will be there.

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Hope Masike

Most think pursuing work in any form of the Arts is a waste of time, what do you have to say to that?

It probably is. I guess you have to allow me to fully find out, yeah?

According to Moonchild Rye, there are plenty of shows to look forward to from the movement. Look out for, A night in May scheduled for the 21st of  May 2022 (2nd edition) and Nyamavhuvhu scheduled for August 2022 (2nd edition). For more information on these and other wonderful events to look out for from Moonchild District connect with the district on social media: 

Moonchild District is in the Building and Propelling Young Artists Forward !!! Asante Afrika Magazine
Poster for upcoming Moonchild District event.

FACEBOOK – Ndi Rayanne or Moonchild District

Instagram     – ndi.rayanne or moonchild.district

Instagram     – ndi.rayanne or moonchild.district

Twitter        – @NdiRayanne

Connect with Hazel Q. Lifa: hazel@asanteafrika.net

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Careers

Kumi Samuel – Sculpture Made in Ghana

My biggest achievement since I started art is the fact that I have been able to stay in the field of sculpting despite all the challenges I have encountered.

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Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Kumi Samuel's sculpture of the late Jerry Rawlings, former President of Ghana
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When they moved to a village where there was a riverbank nearby, Kumi’s parents noticed from a very early age that he was very good at moulding faces with mud; and thus began the journey of them supporting their son to achieve his dream of becoming a world-renowned sculptor. Born in 1983 and residing in Kumasi, Ghana, read on to find out more about this amazing and talented artist who creates life-size and ‘life-like’ sculptures.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

Like any child, you started playing with mud when you were about five years old, creating shapes and human heads. From then on you went on to study art at high school. What is it about art and sculpting which you enjoyed so much from such an early age, and when did you realise that you are actually really good at art?

Modelling, which involves the addition of clay to create form, has been one aspect of sculpture that I enjoyed right from an early age. During that time, I would sculpt pestles, mortars, heads, and other similar things with mud. I realised that I have such a creative talent when I modelled my first bust of someone, which moved my father to showcase it to his friends in our village.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

Your parents realised your talent and allowed you to pursue your dream of studying art at Kwame Nkrumah University of Technology in Kumasi, Ghana. What qualification did you embark on at the university, and how many years was the programme?

When I had the opportunity to study in K.N.U.S.T, I specialised in sculpture and improved on my modelling skills and more also on finishing modelling works for four (4) years.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

What was your area of specialisation during your course?

I settled mostly on figurative figures, purely African figures.

What mantra do you live by as an artist?

I am of the opinion that “Things that remain to remind man of what is lost, are equally important.”

After graduating in 2011, you have been working as an artist at your studio, mostly doing commissioned work. How has that been going, and are the returns good enough for you to earn a living from?

Yes, it is these commissions that keep us on our feet to survive and also gain from the talent we have. So I am able to make a living from it, absolutely.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine

When and how did your work start to get recognition on social media, and before social media, how were you marketing your work?

My work started gaining recognition when I started portraying African figures in 2012. But in 2017 on my Facebook page, ‘Sculpture Made in Ghana’, I posted an African woman with a pot which went viral with comments coming from people all around the globe. I think that gave me recognition on most social media platforms. Before social media, I was marketing through direct contact with various companies and hotels.

You have done some commissioned work of some notable figures, such as the late Jerry Rawlings and the late George Floyd. How was the response from their families, and what gives you satisfaction after completing a piece?

Their feedback was simply fantastic. It was such a heartwarming and overwhelming response, especially from George Floyd’s family, since the work was fully finished and presented. With this recent work-in-progress of the late Rawlings, the response coming in now is very encouraging, so when it is finished too I’m pretty sure the response will be fantastic as well.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

How big was the largest piece you have worked on, and how many days did it take you to complete it?

The largest piece I’ve worked on was a 26 feet by 44 feet mural at KOFCANS Hotel in Obuasi (Ghana), which took me almost 6 to 7 months to finish.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

What are your biggest achievements since you started working as an artist?

My biggest achievement since I started art is the fact that I have been able to stay in the field of sculpting despite all the challenges I have encountered. Today I look back and I am proud of how far I have come, and all glory goes to the Almighty God.

What obstacles do you face in your trade, and how do you overcome them?

Pricing of sculpture works here is quite challenging since a lot of people don’t know the materials used in finishing, but we try overcoming such challenges by producing quality works and educating clients on the type of materials used and their durability.

Besides patience, what other virtues has your trade taught you?

Sculpting has made me efficient at meeting deadlines; I may rate myself from 85 to 100 percent successful in that department.

Kumi Samuel - Sculpture Made in Ghana Asante Afrika Magazine
Image: Kumi Samuel

What advice would you give to a young African who would also like to become as amazing as you are at sculpting?

They should practice always, be hard-working, and make consistency and determination their key goals, because that is surely what is going to make you a good sculptor.

Check out more of Kumi’s amazing work on his Facebook page, Sculpture Made in Ghana.

Interviewed by Gugu Mpofu

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Creative Outlet

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa

I consider myself a street artist who is not afraid to use classical methods as well to create the perfect work of art.

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A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art, Portrait of Zimbabwean Musician, Jah Prayzah
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Hailing from Zimbabwe’s capital city, Harare, Terrance Tongai Mutemaringa never thought of art as something he would come to love. It is during his Primary education at Dudley Hall where he found his love for art through fellow artists who taught Mutemaringa the basics. Mutemaringa, popularly known as Mwanakomana, is a perfect example of surprising yourself, and seeing an unexpected road through.

“For me, art is a passion that has turned into a side-hustle.”

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa

How long have you been drawing?

I’ve been drawing since 2002, with my first actual masterpiece being in 2014 of the famous Che Guevara.

What kind of art do you specialise in?

I specialise in Graphite pencil drawings and silhouette art, but recently, I have been introduced to acrylic painting by Martin Gruber who is supported by the Austrian embassy.

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art, Portrait of Zimbabwean music sensation, Winky D.

Were you trained in any way?

I never did art as a subject, but I stumbled upon individuals who taught me the various aspects of art, and I went from there. 

Are there any people in particular who were instrumental in your artistic journey thus far?

Special thanks to Gilbert Magugu for teaching me the basics of graphite sketching, Godknows Nemhara for teaching me how to shade, and of course my dad for supporting the talent financially – he purchased my first graphite pencil and drawing pad.

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art, Portrait of the late great Zimbabwean Musician Oliver Mtukudzi

Would you consider yourself a classic artist or a street artist?

I consider myself a street artist who is not afraid to use classical methods as well to create the perfect work of art.

Is art a passion or hustle for you?

For me, art is a passion that has turned into a side-hustle. Shout out to Dave Gumbo, who was the first person ever to pay for my art back in 2017. His purchase made me realise that art can be a source of income.

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art

In a perfect world, what work would you be doing?

In a perfect world, alongside my profession, Human Resource Management, I’d be doing the same art, but earning more money from it.

Considering how you got into art, have you ever had any issues with trained artists making you feel like you are not a real artist? 

The only issue I’ve had with trained artists is the one Picasso had, that of having limited imagination because of strict adherence to ancient norms and rules prescribed in the literature they use at whatever art college they attended. 

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine

Do you strictly do portraits?

I’m good at portraits using graphite pencils on paper, acrylic paintings, and oil paint on canvas. But as an artist, I’m obligated to explore my imagination, and strive to be more creative than yesterday.

A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art
A Chat With Zimbabwean Street Artist, Terrance Mutemaringa Asante Afrika Magazine
Image: Terrance Mutemaringa Art

How do people find you?

People can call or Whatsapp me on +263 713 501 506, on Twitter @Mwanakomana3, and on Instagram @mwanakomana.zw

Interviewed by Hazel Lifa

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