Fresh from her participation in a prestigious group exhibition at the Venice Biennale, emerging visual artist Shalom Kufakwatenzi recently presented her first solo exhibition.
The show provides an exciting opportunity to appraise the growth and development of her practice.
This could be the birth of another star in the constellation of Zimbabwean female visual artists.
Curated by Laura Ganda, the exhibition is titled THE COCOON: A Be-You-Till-Full Space.
Implied in the title is an invitation for viewers to step into the artist’s inner private world.
The notion finds a parallel in the manner by which guests entering through a side entrance on Sam Nujoma Street in Harare had to go up a narrow flight of stairs to the second floor of the Old Mutual Greatermans building.
Ganda describes the Kufakwatenzi as an artist who delves deep into the essence of self-discovery. The individual in Kufakwatenzi’s work becomes a microcosm for the community.
The analogy of a cocoon typically implies that like a butterfly, the inhabitant should come out for their transformation and liberation to be complete.
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Kufakwatenzi subverts the process of transformation by inviting the public to join her instead.
The inversion of priorities is touted as equally transformative and liberating, and possibly a more urgent requirement for social cohesion.
Apart from the wooden frames, the artwork is made from organic fibres: corded, weaved, crocheted, stitched, tied and bound together.
In some instances, the frame cannot contain the medium as part of the artwork extends above and below the rigid confines.
The variety of material introduces different hues and textures.
Although largely abstract, there are interspaced symbols, and figurative sketches and shadows.
A notable frequent appearance of halos may signify divinity and sanctification, and maybe the dogmatic and sanctimonious as well.
In the exhibition, the artist provides concise statements for each artwork.
The captions might be a crutch to help maintain her convictions just as Swiss sculptor and painter Alberto Giacometti is attributed to have said: “I paint and sculpt to get a grip on reality . . . to protect myself.”
To some, the musing and philosophising could be distracting.
It is not a bad thing to note this because it means that the work transcends titles and captions.
The debutant probably could not understand the power she wrought until the first invited guest stepped through the entrance of the gallery, and across the exhibition floor.
From a distance, the piece titled If Shadows Had Colour looks like a pleasant landscape.
Up close, one notices how the red circles transform into the terrifying eyes of a monster with sharp teeth.
Under its gaping mouth, there are caricatures of agitated men, women and children.
The image recalls the phantom creatures from childhood nightmares.
Stuck in the Middle depicts a clownish head with weird hair, and bulging eyes, sticking out its tongue.
The head appears ridiculously trapped in a web which, given the artist’s thematic concerns, might be taken to represent dangerous lies, deception and opinions not rooted in fact.
Shanduko 2 has a heavy presence as it is propped against the wall like an exhausted wrestler.
Its limb-like flaccidity gave some people the creeps.
Many visitors, however, were comfortable to hang around, stand against the opposite wall sipping on their beverages, and take selfies generally treating the crumpled mass as if it were their old fears personified.
Family Portrait 2 is a kaleidoscopic installation of nine frames.
Depending on whether one moves in a clockwise or anti-clockwise direction through the exhibition, the installation is the first or last thing they look at.
The odds that the piece can be both first and last makes it an ideal bookend to the various themes explored in the exhibition.
“The idea of what a family is has changed, and how people see family is different in society from what we are accustomed to. Family comes in all shapes, sizes, and even colour. It is no longer as it used to be . . .,” writes Kufakwatenzi.
The installation features various depictions of a family set-up.
A multi-coloured yarn weaving through the piece is suggestive of the soul ties that bind people to each other.
It speaks to both diversity and inclusivity.
The importance and value of family is vouched for by the presence of the artist’s parents at the exhibition.
To many, Shalom's need no introduction.
Apart from the artist’s uncanny resemblance to her mother, it is not the first time that both parents have been present when their daughter is presenting her work.
Other female visual artists in attendance shared glowing reviews of the show.
Mavis Tauzeni: “I like the execution. The relationship between women and wool. How she manipulated it to show that it’s not just about knitting jerseys. It’s a powerful statement for her as a woman to use wool in expressing her feelings.”
Kundai Nathan: “I can tell that she worked hard for a long time because it takes a lot to finish a piece with her technique of crocheting and weaving. Every piece is powerful in its own way. It’s a voice that people need to pay attention to.”
Lilian Magodi: “She let herself loose . . . I’m impressed! I’m taken by the way she moved around with the yarn to create lines, it’s very impressive!”
If it is any indication of the success of the exhibition, the warmed-up crowd had to be gently coerced to leave way past the time billed for end of the event.
Asked for comment on her daughter’s accomplishment, Shalom's mother said: “We are so impressed. There are some things that we look at and don’t understand. We just thank God for giving her the insight and ability, and the strength.”
