The career of Joram Mariga is inextricably linked with the beginning of Zimbabwean stone sculpture. The exact sequence of eventsleading to the birth of such a movement can often be difficult to establish. Essential elements occurred at the same time, but with adegree of independence and the source of initial influence is worthyof much discussion. We know that Joram Mariga, in his own way,influenced many who were to become prominent artists in the followingyears; with direct teaching from his Nyanga 'studio' and by moregeneral example - men such as Chrispen Chakanyuka (who himself playeda vital role in the emergence of the Tengenenge sculpture community),John and Bernard Takawira, Bernard Manyandure, Kingsley Sambo, MosesMasaya and others, further afield, whom he met on his travels, when -as he says - he 'whispered the gospel of sculpture.'

An important insight into those early years comes from FrankMcEwen - founder of the Workshop School and the first direction ofthe new National Art Gallery of Zimbabwe. "The sculptural expansiondeveloped in only 34 years. To give a true example, among othersarriving from different parts of the country came Joram Mariga. He was not the first to come to the workshop, but one of the best. .....He brought me a little milk jug carved in soft stone. I realised thiswas an English milk jug for an Englishman who loved his tea! I askedif he could make a head. The head came, make also for an Englishman,in the style of airport art as acquired by tourists. ' If you made afigure for your own family or your ancestors?' I asked. 'Oh, thatwould be different.' The figure came, this time of pure Africanconcept - the enlarged head, seat of the spirit, a frontal staticpose, a visage staring into eternity with formally posed arms andclenched fists. It was pre-Columbian in nature, as if a spirit imageapplied to stone could create similar results in spite of adifference of race, place and time."

Born of artistic parents in 1927, Mariga used to watch his father and brother carve wood, and his mother make open-fired ceramics.Experimenting with wood carving at first, he moved onto soft stonessuch as Steatite, but later discovered colourful, harder stones with which to work and became committed to this new material. Others, onseeing his work, asked to be taught the skill and his influencegradually spread.

It was essential to Mariga in the early days, to return to closecontact with Shona customs and the significance of the natural world,and these themes have been consistently portrayed and explored in hiswork over many years. Most recently he has challenged himself withharder and increasingly unusual stones and not only offers respectfuladvice to younger artists, but is always open to comment anddiscussion of his work; leading to further refinement of his ideas.His sculpture often portrays strong messages and stories and despitetheir clear, accessible appearance, contain great depth andinnovation.

There has never been any doubt about Mariga's position as aninitiator and source of inspiration. His knowledge of the early daysensures that he remains a powerful example to artists today, amongstwhom he is regarded with affection and respect, being referred to asthe Father of Zimbabwe Sculpture.