John Takawira dominated the Zimbabwean sculpture scene for much of him career. His untimely death in 1989, at the age of 50 left a void still sorely felt today. Born in 1938 in Chegutu, he grew up inNyanga. Like his brother Bernard, he was greatly influenced by hismother and perhaps more than any of the sons, retained histraditional upbringing and beliefs and portrayed them endlessly inhis sculpture.

He was led to sculpture by his uncle, Joram Mariga, at the age of twenty. Frank McEwen noticed his remarkable talent immediately and he became one of the first members of the Workshop School, with his work being exhibited in the National Gallery from 1963. When, in 1969,Frank McEwen moved the school to Vukutu, John was to be one of the most important figures within its small community and in suchpowerfully spiritual surroundings his work found freedom. Here he wasable to lead a simple and purposeful life and his sculpture coulddevelop, free from the pressures of commercialism and unnecessaryinterruptions. Images such as his skeletal figures and baboon/mancreatures took precedence and came alive. In 1971 Frank McEwenorganised a highly significant exhibition at the Musee Rodin inParis. Here, Takawira's Skeletal Baboon was exhibited and McEwen wasto say later, "his vibrant Skeletal Baboon, with its almost pleasantgrin, was considered by Charles Ratton, perhaps one of the greatestexperts on African art forms, to be the best art to come out ofAfrica in this century." It was this exhibition which set his careerin an international context.

His uncompromising nature ensured that his development continued a pace, producing ever more startling and innovative work. He was one of the first sculptors, for example, to experiment with the surface of the stone; combining polished areas with the unkept, but powerful natural rough skin, or leaving evidence of his working methods in the marks etched onto the stone in moments of hurried insight.Continually exploring spiritual and personal depths, his sculpture used powerful combinations of forms and, often carving right throughthe stone, holes and voids played a crucial part in the overallimage, representing the all-seeing spiritual 'eye' of the piece.Willowy and fragile in appearance, his smaller works embodiedenormous spiritual superiority and strength. Water Spirit, (1983) isa fine example, with its uneven, liquid surface and forlorn expression. There is little imposition on the part of the artist andthe viewer could be forgiven for thinking his role was purely toassist in the emergence of the spirit. Women play a very visible rolein his work - with elongated necks and flowing hair, they look downon the viewer with a detached power. Many seem to have closed eyes asif in contemplation or pain, but the vital role which John soobviously saw for them is clear. They embody the strong, creative andempowering personality so inspirational in his own mother.

Working in the hardest, darkest Springstone, Takawrira soughtalways to be individual and different from those around him. At timesa difficult personality, he was nevertheless uncompromising to theend - traits that are perhaps typical in a leader (of internationalstature) within his own field. John Takawira won awards in theNational Gallery Heritage exhibitions on many occasions and has morework in the Permanent Collection of the National Gallery than anyother artist.