Theiler Art Gallery
Switzerland
Logo: Theiler Art Gallery
The Shona art form represents a significant artistic tradition, predominantly practised in the countries of Zimbabwe and Mozambique. This art genre is particularly renowned for its exceptional stone sculptures, which have exerted a considerable influence on contemporary European art through the utilisation of specific materials, the application of distinctive techniques, the consideration of particular aesthetic principles and the exploration of specific themes.
The tradition of Shona art has a history that spans over a thousand years. The subject matter of Shona art is diverse, encompassing both abstract forms and figurative depictions. Themes of the family, spirituality, human emotions and the connection to nature are recurrent throughout the art form. - Read more in the handout.
At this year's event, the Theiler Art Gallery from Brienz is devoting particular attention to the works of Brighton Sango and Nicholas Mukomberanwa, with a view to providing a comprehensive overview of their contributions to the Shona art tradition.
Gallery artists at the fair in 2024:
Leo Berekayi
Witness Bonjisi
Edward Chiwawa
Tafadzwa Gwetai
Nonny Mathe
Nichola Mukomberanwa
Lloyd Mwarowa
Dumisani Ndlovu
Brighton Sango
Leo Berekayi: Head / Achat Steinskulptur, 35 x 22 x 28 cm, 2018
Edward Chiwawa: Leaf Head / Stone: Opal / 50x28x18cm
Tafatzwa Gwetai: New Truths 1 / Oil on Paper Collage
Nonny Mathe: Together we up lift each other / Oil on Canvas
Brighton Sango
Brighton Sango: Abstract / Stone: Serpentine, 30x28x17cm
Brighton Sango was born in 1958 in Guruve, a town located in the northern region of Zimbabwe. His oeuvre can be classified as abstract.
In his monograph, "Shona Sculpture", published in 1987, F. Mor. provides an insight into Brighton Sango's work and offers the following description: "Brighton Sango has pursued an idiosyncratic artistic trajectory, and can today be described as the most intriguing and promising representative of the new generation." Sango's career as a sculptor commenced in Tengenenge. After approximately six months, he was able to establish himself as an independent artist, no longer influenced by the work of other sculptors.
His artistic career was initially shaped by the influence of Bernard Matamera, a prominent figure within the community. However, he came to the realisation that a change in his previous working process was necessary, given that he felt that his work was too externally determined. Despite lacking any formal artistic training, he commenced the development of his own ideas. Sango attained a noteworthy degree of lightness in his portrayal of flat surfaces and changes of direction, a quality otherwise predominantly associated with contemporary steel sculpture.
In a report on the exhibition "Zimbabwe Stone Sculpture" held in 1994, the art critic Lionel Philips paid tribute to Sango's work in the context of the exhibition "The Second Generation," which took place in England. It is evident that Sango, the sole Zimbabwean artist whose work is predominantly abstract, appears to have been influenced by 1930s Cubism. This is a noteworthy observation given that Sango had no contact with Western art. Tragically, Brighton Sango took his own life in 1995.
Nicholas Mukomberanwa
Nicholas Mukomberanwa / Double Face / Stone: Serpertin, 40x24x16cm
Nicholas Mukomberanwa (1940-2000) is widely regarded as one of Zimbabwe's most esteemed sculptors on an international scale. His oeuvre is represented in numerous collections and museums around the globe.
He received his education in a rural setting and pursued studies in woodcarving, drawing on both Christian and African traditions, at the Serima Mission School. In 1962, he was presented with the opportunity to meet Frank McEwen, who was then serving as Director of the National Gallery in Salisbury (now Harare). While still employed as a police officer, he commenced his pursuit of sculpture. In 1976, he commenced a professional career in the field of art. Subsequently, his works were exhibited at international events, including the Venice Biennale in 1980.
In the early stages of his artistic career, he exhibited a proclivity for depicting African cult figures and biblical scenes through the use of simple, round forms. In the subsequent stages of his career, he developed an increasingly complex geometric style, which he extended to a far-reaching abstraction through the use of sharp lines and surfaces. His style frequently exhibited an overwhelming monumental quality. He utilised the hard Penhalonga serpentinite as the medium for his sculptures.
See more of this gallery here: Presentation 2023 | Presentation 2019
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