Agnes Nyanhongo

Agnes Nyanhongo was born in Mazarura village and is the daughter of First Generation Shona Sculptor Mr Claude Nyanhongo. Agnes has inherited his artistic flare and she has become singularly the most impressive figure amongst Second Generation artists. She is not simply an exceptional female artist; she ‘is’ the Shona Sculptor extraordinaire. There are many exceptional artists in Zimbabwe, in fact some of the best in the world, yet Agnes has been lorded as the finest of them all. This is a valid achievement and it is an honor that she should receive it in her lifetime.

Agnes began sculpting later than her brothers because of her role as a young girl in traditional Manica culture, which is dilect of Shona culture in general. To her parent’s credit, they did not discourage her from following in her father’s footsteps. She decided to pursue art more seriously though there were no female artists she was aware of in Nyanga where she spent her childhood and early adolescent.
After independence in 1981 Agnes determined to make art her life. At the school Agnes explored a diverse number of art forms including drawing, painting, textiles and sculpting. It was then that she settled into her chosen art although she demonstrated talent and enthusiasm in different artistic endeavors. Agnes also drew inspiration from a number of artists including her father Claude Nyanhondo, Moses Masaya, Nicholas Mukomberanwa and Tapfuma Gutsa.

From 1987 Agnes joined Chapungu Galleries. Whilst she was there she did not encounter any problems being a female artist amidst male talent and in fact gained the respect and admiration of many of her contemporaries who often encouraged her. It was in her third year that she began to explore her female themes more intricately. At this stage Agnes felt she needed to break out and express something entirely centered on her experience as a woman and to tell a story from a less well defined perspective.

Agnes wanted to explore and express different themes in her art. One of the most significant themes was that of the role of individuals within their communities and society at large. As a student she was assisted by her then mentor, Moses Masaya and was encouraged to explore diverse themes in art.

Telling Stories on Stones – Agnes prefers to find her own stones from the quarries, she then hires a lorry to transport them to her home in Harare where she has her workshop. At times she chooses a particular stone to bring out the theme she desires or she extracts the theme from the stone. Either of these two methods can take a moment or as long as two weeks. In another instance Agnes might have a theme in mind but cannot find the right stone in which to sculpt her vision and tell her story.

Even when the setting for a masterpiece appears to be perfect the chosen stone might crack and the inspiration is momentarily quashed when this happens the theme must evolve and accommodate the new feel of the stone. At other times as Agnes is sculpting she finds that the movement of the piece changes thus the end and the result change with it. As her vision for the piece matures and develops, there is a fresh evolution that emerges.

Since 1986 Agnes has had a number of exhibitions in various national and international galleries as well as having her works displayed in banks and other public places. Agnes has also received various sponsorships and is currently enjoying a partnership with Mystery in Stone. Of the places where her works are housed, Agnes would like to see her art displayed in museums, institutions such as universities and in people’s homes because she believes that art should be shared and be used to educate people both in the private sphere and in the public arena. Agnes would also like the opportunity to teach art towards the end of her art career.

Masterpieces - Agnes grows from strength to strength as she explores her chosen artistic form further. Her mastery of sculpting is shown in pieces such as ‘The Wedding Dress’, which she has in her private collection. This amazing piece is a medium sized stone detailing a young bride in her splendor and attractiveness. Some pieces of note are discussed below.

Proud of her First Grandchild – This expressive sculpture illustrates two women, the older of whom is the grandmother holding her new grandchild with her daughter-in-law besides her. The grandmother is holding someone precious to her and someone she has been expecting and hoping for. In Shona culture grandmothers play a pivotal role in the lives of their grandchildren and are there to relieve the mothers and serve as aids, particularly in the early stages of the child’s life, in this way they pass on knowledge and customs as well as receive respect and honor for the years that they have seen and the lives they continue to touch.
Woman of Wisdom – This outstanding piece of work expresses both the power and authority that women have as counselors and mentors in social and moral issues within the Shona community. Though their role has traditionally been interpreted as passive they are in fact the backbone of so many families and hold within their hands the customs and beliefs of the community. The woman in this piece is holding a staff, a symbol of her age and authority. This woman gives wise counsel to the young and old alike and is known in her community as someone who is able to bless her members with something. This blessing has both spiritual and moral connotations as she is also a chastiser and upholds those things, which are for the general good of her people. Agnes says that her grandmother inspired this, as many people would go to her for counseling and advice. Agnes’ grandmother passed away at the respectable age of 108 years.

Welcome / Advising Aunt – This piece shows an aunt and a young child. Agnes notes that in Zimbabwean culture the aunt advises the children, particularly her brother’s children and attempts to lead them into a good moral and social standard of living. She notes that the aunts do this even when they are old and will lead many of their nieces and nephews into long lasting marriages where they act as God mothers of spiritual and social aides in resolving disputes between family members of married couples. Aunts even assist in the raising of children as well as giving counsel to older people. This opal piece shows the child in an intimate position expressing attentiveness, love and care.

Agnes is a much sought after artist and works permanently with Mystery In Stone where is an advisor and pioneer. Her work appears on the cover of Mystery in Stone publications. Currently, Agnes works in her own studio in Harare with six other family members, she also has the opportunity to work with other family members in Nyanga, the most important being her father Claude.