We are stitting at the National Gallery of Zimbabwe where we will be talking to Masimba Hwati about his work.
Hi Masimba, how are you doing?
I am okay thank you very much. I was born in the high-density suburb of Highfield in Harare where I did my primary schooling. I then went to Mhondoro for my secondary school, after which I came back to Highfield for my ‘A’ Levels. From there I enrolled at the Harare Polytechnic for my National Certificate in Applied Art and Design which was a completely different world for me since I had never studied art anywhere before.
Describe your average day.
I wake up at about 5am to pray and read my Bible, have breakfast sometimes, usually I am at the Poly, if I am not teaching the students then I am doing my own work, or some kind of research or I am on the internet, then my day finishes at around 8pm, I mean my active day, that is when I stop doing other things then I go home watch TV and relax, call some friends or
meet people.
What do you do for recreation, movies, music and books read?
I love travelling a lot, chatting and relaxing with friends over braais and reading sometimes. My favourite movies are Epics latest watched being Ong Bak 2, by Tony Jah. As for music, I am into Afrofusion, by the likes of Baba Maal, Youssou Ndour, Salif Keita, an upcoming Zimbabwean group called Mokoomba and a lot of other guys from that sector. Mind Maps by Tony Buzan is the latest book I have read. It was a very interesting book based on a theory that people retain more information in images than in words, so this guy created what he called mind maps, where he arranges information in pictures. The author then takes you through step by step on how you can read a book in pictures, or retain information in pictures, and you can never forget that information for the rest of your life.
Describe Masimba in a word.
Progressive. Masimba is a progressive individual. The Masimba that you saw last year is different from the Masimba you see
this year.
Who is your favourite visual artist?
Berry Bickle, Tapfuma Gutsa and Chiko Chazunguza. I know that these might be a little bit outdated now, but there is something in their work that as a Zimbabwean I relate to, and I would like to jealously preserve for the next generation, and the wider global market. The art world is a very dynamic and fast-moving world so if you miss about a year of active involvement you become outdated, there are so many people who have come on the scene now, in Zimbabwe and also internationally, so the people I have been talking about have not been showing in Zimbabwe for quite some time.
How has your work developed, since you first ventured
into ceramics?
My work has developed from just being ceramics to being a fusion of ceramics, wood and found objects. Lately, I have been doing works on a large scale using a lot of space and exploring three-dimensional spaces on two-dimensional surfaces so you discover that in my work there is less volume of ceramics now and more of wood and other supportive material. This is technical on the greater part, because ceramics can be fragile, especially on a large scale, so I would prefer my works to be more of the durable variety, with small volumes of ceramics in it.
Ceramics is very special to me, the first reason being not many people in Zimbabwe if any, use ceramics as an expressive medium, just like what people do with paint, and maybe stone. Usually people use ceramics for functional reasons and conventional purposes. I decided to take it further and explore the abstract, the expressive and the Avant-garde, using ceramics and terracotta which not many people did. I mean if I did my research very well I think in Zimbabwe I am one of the few people who uses ceramics in that type of way, because my work is not conventional or utilitarian.
The other reason was more ideological, because according to my fundamental beliefs, it is what God used to make man, who was formed from the dust of the earth. Using that kind of material, connects with me, gives me a sense of warmth and involvement in the creative process that God would have gone through to make man. I feel like I can do a lot with it because the Bible says God breathed life into the earth, into the man, so with my work I think I can impart a lot as I am using ceramics as a medium.
What Influences and Inspires you?
My influences are quite varied but I would like to put them in perspective. For a very long time I have been working with the theme of redefinition, which looks at the law of variation, which states that to every object there are 35 variations, so through my work, I always push to come up with at least 35 more variations of the same model. This is a challenge I have pursued since 2003 up to now whereby I am pushing the limits in a quest to discover what more a thing can be and how else it can it be represented in people’s minds.
I am also inspired by and interested in wood. The processes it goes through especially when it is subjected to nature, you will discover that in a lot of my works most of the wood is has been rained on, drenched by the sun, so it has got a very natural process, testimony of a process you cannot get anywhere else. I also love the warmth that terracotta has, the clay, has got a grace and ancient warmth that in itself inspires me to explore it even more and more giving it new forms and new meanings.
How many variations are you able to achieve with a certain piece of work?
From the 35 variations that I have put as a standard, this is a principle and an idea that we developed while we were students at the Harare Polytechnic – Gareth Nyandoro, Munyaradzi Mazarure and I. We set it up as a challenge for us to push ourselves further into exploring media. But I have not gone beyond 10 variations, despite pushing all my works to the limit and I think the environment that you live in also determines how many variations you get. To French people a fork can mean 5 things and yet to Shona people a fork can mean 20 things, so it also depends on the culture that you find yourself in.
Which are the role models you look up to?
In the none art field, my inspiration is Strive Masiiwa, the founder of Econet Wireless. He has so much influence and financially he has managed to spread the mobile network all over Afrika and he is listed on the Johannesburg Stock Exchange (JSE) and other stock exchanges worldwide. He started from a humble background which most of us would identify with and I like his principle “do not go where there is a path, but go where there is no path and leave a trail”.
So for me it’s an inspiration because I see someone who was in the same situation which I find myself in, but this person has pushed the limits and believed in something greater and now he provides a service to so many people around the world. When we come to art, my role model in visual art is Damien Hurst, who came onto the scene about 5 years ago. I love him for one reason because he has actually broken the myth and tradition in fine art. The myth which Gavin broke is that most fine artists live a Bohemian lifestyle, which is they don’t do very well financially, and their romantic relationships are messed up. So, every artist who has made it in the world has got another side which is called fascinating but it is also self-destructive.
Damien Hurst, has proved to be different and has gone out to invest his money and is doing well financially and commands a lot of respect. He is not detached from the society, he is not Bohemian he is involved in the cultural and modern society.
Damien Hurst is from London and came up about 5 years ago, he was discovered by a guy called Saatchi who was a business man doing marketing in London. He decided to take a group of conceptual artists to promote them so that they could market products and ideas through their work. This is how Damein rose to become a living legend.
Any upcoming and current latest exhibitions?
My latest exhibition was at Delta Gallery, in November called Redefinitions 2. It was a three man show Gareth Nyandoro, Munyaradzi Mazarure and I. This was a follow up show to one we did at the Delta Gallery under the same title, the idea of this series of shows is to stretch the Law of Variation and present to the public the things that they see every day, but at the same time show them variations of what these things can become. Tapfuma Gutsa was guest the honour and had just come from his 5 year sojourn in Austria. I am looking forward to another show that is opening at the National Gallery on the 19th of January, called Food For Thought. This show features the young contemporary artists who have come up on the scene and is being featured for the first time, so I think it’s a very important show. There is another exhibition of my small works in March in Avignon, in the South of France.
Tell me about collaborations with David Chinyama
The idea which we presented to the public was quite unique and quite virgin if I would say because art as an institution is very individualistic, people exist and express as individual entities. We decided to break the myth and discover the result. We came together and did a number of works together, David as a painter and I as a ceramicist featuring found objects. We brought together our ideas and our energies, and came up with something very interesting which I think was very successful as a concept. We were not really expecting anything commercially because at that time work was not selling very well, but the idea was the most important thing to get the merit and to present something new to the public which we achieved.
You are also into fashion designing and collaborated with
Hope Masike?
Yes. I have done a lot of costumes for a lot of performing artists. I have done costumes for HIFA for quite some time, for their theatre and other musicians like Dudu Manhenga and Hope Masike. To me it’s just a variation of media, but the same idea the same passion of art and the same skill just needs to be channelled into another medium and then it comes out. So for me it’s not something very new, but just a new language. I have also done set design. I have worked with Tsistsi Dangarembwa on a Dudu Manhenga music video shoot. There are also quite a number of small theatres that I have done during HIFA.
How do you promote yourself and your art?
Recently I have been working on a website which is going to be out very soon. I have taken the initiative to market myself, because we are coming from a very consumerist background whereby artists are waiting for other people to come and promote them. I think we have had a harsh awakening in that regard, so I have taken the initiative to get my own website designed to broaden my marketing and reach to potential clients all over the world.
What are you thoughts on state of Zimbabwe?
As you know the three principals agreed on a couple of important issues and things have been smooth for the greater part because of the financial stability that is there now. People can afford to buy things which are now readily available, so certain parties have come together and sort of like resumed their business in Zimbabwe. Although we still have a number of issues that I think need to be resolved by the three principals. There are a lot of agreements which have been breached which need to be sorted out, so all these things that affect us economically as artists also determine the kind of clientele that looks at our work. We are still in the process of trying to build something, this idea of a government of national unity is something that we are still experimenting with and we want to see how far it goes.
When I came, the three principals held a press conference to resolve all the outstanding issues by the 1st of January. How do you see that playing out?
I just hope that the public will keep them accountable to those words because you know politics is a game and people say a one thing then do another. Everyone wants issues to be resolved, everyone wants agreements to be honoured and this is where we really come in and say if they can honour their agreement then I think everything will go on smoothly.
What has made you stay in Zimbabwe despite having opportunities to go to other places?
I was teaching at the Harare Polytechnic which to me was a responsibility that I took with all my heart because I represent a new generation of artists who believe in a different ideology and that DNA had to be infused in the next generation, so I think I have also played a part in shaping the future of art in Zimbabwe. Harare Polytechnic is one of the most recognised colleges with a valid product in terms of the arts and I have also contributed there. I also want to and I’m in the process of establishing a support system for myself and the arts in general at home. I’ve been working on something called Studio Harare for two years now with a couple of guys, an actual space for artists to develop themselves after college and earn a living as professional artists. We are almost done with the setting up of the studio so I can be free to go wherever I want safe in the knowledge that I have something to fall back on back home. Often, the trend has been that most artists who have gone out into the international stage to exhibit, have nothing to show for their success abroad when they come back to Zimbabwe, they are poorer and lack influence and respect and I don’t want to perpetuate that kind of trend.
What are your expectations in the new constitution, which single issue would you like to see addressed?
I think the issue of art education is very important and the allocation of resources to the art sector because the arts in Zimbabwe are not yet considered as an industry. I would like authorities to look into the arts education and the investment of resources into the
art world.
If you were given $1 billion which social issue would you l
ike to tackle?
I really would like to establish an institution that combines art, health and psychology which has been a dream of mine for some time because if you look in Zimbabwe we are a society that is very conventional and that is very utilitarian. The idea of art in Europe is different from Zimbabwe and for art to benefit Zimbabwean people, we need to find something that is direct and contributes or adds value to the people. If you just look at the areas of health psychology and art, they are very important areas but unfortunately the kind of approach that we have which is adapted from Europe cannot really contribute directly, unless if you combine it with psychology and health. Art therapy then comes into play and we begin to develop a lot of ideas around how art can help in the health sector and how it can contribute in occupational therapy and how it can contribute in psychology. I have worked with doctors before on my project but I have discovered that there is more that needs to be done if we are to develop art as a holistic institution. Most developing countries like South Afrika have an art therapy institution and we would like to establish something like that so that we move on with the times and develop a more holistic approach to human health through the combination of these three disciplines.
Your definition of Patriotism?
The expression of your passion for your country even in the most embarrassing, difficult situations that you can be faced with. I gave an example the other time about a film called Zimbabwe that I watched in France which was not very balanced nor properly researched because it dwelt more on the negative. It was media propaganda where by Zimbabwe was portrayed as a very desperate, poor and less intelligent nation and my protest towards that film was to walk out of that lecture theatre and refuse to answer any questions. To me it was an expression of patriotism because I could not answer any questions on something that was not a true representation of Zimbabwe. I was surrounded by a lot of French people and people from other French speaking countries but I had to stand for my country, I had to defend what I knew was right. I could not compromise just because they paid for my air ticket and everything else. I had to stand my ground and show how much I believe in my country wherever I am.
You don’t think that was an opportunity missed to actually tell them the right story about Zimbabwe?
We could say that but then the other thing is that I was dealing with people who were already set in their minds and who had already seen and contributed to one hour of a film that was showing the other side of Zimbabwe. They were not even interested in looking at the history of Zimbabwe and I think there was a lot of personal justification involved in the making of whole film, so to me I think I was a bit emotional. I think I lived right; to really express my true Zimbabwean spirit and refused any association with things that didn’t accurately represent Zimbabwe.
Who or what is God?
God is the source of life – he’s everything, the reason we are alive, the reason why I do what I do. He is the architect of my future he is the dream weaver, all these dreams that I am talking about, everything that I am saying to you right now is because God put it in my heart, so he is the center that makes every piece balance because if you remove Him everything doesn’t make sense. So to me God is the ultimate.
And what happens when we die?
The bible is very clear that when we die, if we are in a relationship with Jesus Christ and received him as our lord and saviour then we gain eternal life in his presence but if we are not in relation with him then there is eternal damnation for us then we go to hell.
What plans do you have for 2010 and beyond?
2010 is my year of preparation for study and of wrapping together a lot of other things and also for another social stage of my life. I need to get married in 2010
When do you intend to get married?
Marry in October then wed in December and enrol at Michelles School of Art at the University of Cape Town (UCT) in 2011.I am going to do my post grad there and eventually I will see what happens but I would also like to do my masters at the same place and I have been writing a book and I think going to Michelles will give me a chance of proper research for me to write that book, my target is by 2014 the book should be out and I have two other books which I intend to write but that is after I get the first one out.
Parting words a word for aspiring artists.
Just like what Strive Masiiwa said. Do not go where there is a path but go where there is no path and leave a trail.
A word for Zimbabweans
My word for Zimbabweans is that we need to embrace what God has given us as a country and then stop comparing ourselves with other nations but really find out what God has for us as a nation and then chart a way forward on that foundation.
Zimbabwe is the best country in the world because…
Because Zimbabwe has the most beautiful and hospitable people, the most kind and loving. You can actually see the level of violence in Zimbabwe is actually very low. We have had every reason to revolt and riot and create chaos but there is something in our nature that is peaceful and calming. Many people will mistake this for docility and fear but if there is a spirit that prevents blood shed then it must be from God.
Masimba, thank you very much for your time and expertise. We hope to catch up with you again in 2010 for more words
of wisdom.
The pleasure is all mine. Definitely, thank you very much!
