Tapfuma Gutsa, perhaps more than any other of the 'secondgeneration' of Zimbabwean stone sculptors, has broken free from thetraditions already established in this young movement. Often using acombination of materials, such as stone, metal, wood, wire, paper andstring, he strives to express contemporary as well as traditionalideals in his work to a local as well as international audience.

 

Born in 1956 in Harare, Tapfuma Gutsa was educated at DriefonteinMission School in Zimbabwe, and later became the first recipient of aBritish Council award to Zimbabwe. With this scholarship he studiedfor three years at the London School of Art, England (1982-1985) andwas awarded a Diploma in sculpture. He had always been interested inart, particularly sculpture, and even while still young tookdecisions that were to shape his future. He chose to attend theDriefontein Mission School in order to be taught by the respectedsculptor and teacher Cornelius Manguma; and he broke away from familyexpectations when he made the decision to leave his father'sconstruction company and pursue his ambition to become a full timeartist. The years in England were difficult for a young man new tothe country and way of life. The formal art education he receivedthere was to form many of his opinions on the role of art in societyin general, and to fire his enthusiasm in helping the young people ofhis own country - a commitment that endures today.

 

Evidence of his experiences in a wider international artenvironment can still be found in his work. With each piece he seemsto challenge afresh the established concepts of Zimbabwean stonesculpture. The challenge goes out to international art audiences andfellow Zimbabwean sculptors alike. For many, he has been a powerfulrole model and young sculptors such as Dominic Benhura, GarrisonMachinjili, Fabian Madamombe, Wenceslous Marufu and Jonathan Gutsaall cite him as their major influence.

 

Tapfuma Gutsa's sculpture speaks easily and powerfully to aninternational art audience, with a vocabulary which reflectsrefreshingly new techniques. His work is often politically charged(The Hidden Agenda, 1991, serpentine and wood; Ya Asantewa, 1989,serpentine), and is also capable of great poignancy (The lullabye,1990, serpentine; Ari and Farai, 1990, serpentine; Listening to theBaby Kick, 1989, serpentine), but is always challenging, both interms of visual imagery (Calling Bird, 1992, wood and serpentine; TheGuitar, wood 1988, newsprint and serpentine) and idealistic belief(Songs of the Rhino, 1990, wood and serpentine). Works are at timesharsh and strident , at times poetic and full of harmony.

 

His work also argues convincingly against the claim that this newAfrican art form should remain free from outside influence. In hisopinion, "the Western world has long borrowed from Africa. I find noproblem in borrowing from them." The imagery in his work is not somuch borrowed from contemporary European culture, but actuallyrepresents much of today's society in Zimbabwe - it is not restrictedto portraying traditional cultural issues and is unafraid to speak ofthe current environment in his home country. Amongst other awardsGutsa has on two occasions won the overall award of excellence in theNational Gallery of Zimbabwe and his recent one man exhibition atthat venue has been considered as one of the best exhibitions ofrecent years. He is admired in Zimbabwe for the excellence of hisart, but also for his concern and support of many young artists.