Joseph Ndandarika died tragically in May 1991 at the age of 50:Zimbabwe mourned the loss of one of its most gifted and successfulsculptors, believed by some, to be ranked amongst the worlds majorartists. His background and upbringing was simple, but significant.Perhaps most important is the fact that he was the grandson of ahighly respected n'anga (mystical healer and spiritual figure withinShona society). It is argued that there is much evidence in Joseph'swork of his time spent in apprenticeship with his grandfather -inheriting the powerful ancestral ways of his people.

 

In 1962 he joined Frank McEwen's Workshop School in Harare as oneof its first and most significant members . McEwen recognised hisnatural talent as he watched him work energetically and freely in avariety of media - beginning with painting and moving to sculpturethrough modelling and carving. He spoke of Joseph later as " A greatand universal genius who worked in every possible medium." This lackof inhibition matured into an assured belief in himself as aconsummate artist, and the strength and scope of his work grewaccordingly.

 

His life took on all the appearances of an adept city dweller ,but the legacy that now remains tells of a shy and gentle man who, tothe end remained profoundly spiritual and troubled by the spectre oftraditional cultural ties being threatened by much in modernZimbabwean society. His friends and fellow sculptors talk of him withaffectionate warmth as someone who, initially, may have appearedquiet and reserved, but with encouragement could emerge as acolourful and entertaining personality; but above all an artist withdeep integrity and an increasingly determined drive to portray thespiritual beliefs and customs so vital to the lives of previousgenerations. We should perhaps be thankful for this possibledichotomy within the one man - what may well have caused Joseph muchanguish and struggle also resulted in the portrayal of the gamut ofhuman experience - both physical and metaphysical. His sculpture iscapable of expressing searing grief and loss; the fragility of ourearth -bound existence; the humour and love that is possible in humanrelations; and the constant presence of spiritual powers and linkswith previous generations. His own knowledge of tragedy and conflictare not perhaps unique, but his familiarity, not only with theextremes of human experience, but also with the spiritual potentialof life combines to express powerful and universal truths.

 

He worked endlessly with the figure - as a means of portrayingelements of both worlds. Enlarged heads signifying the home of thespirit and the potential of physical endeavour; definitively carvedfaces expressing the depths of the human soul; arms that envelope andshare such experiences; and always the inescapable solidity of thestone and the human form. Some gesture appears unconsciouslycaptured, elsewhere it is didactic and purposeful.

 

In almost all of Joseph Ndandarika's work he seemed able toportray the experiences and dilemmas of life, not only with aconsummate skill, but with an understanding and expression thateludes most of us. His work has been exhibited and collectedworldwide and awarded the highest critical acclaim.