Sylvester Mubayi

Sylvester Mubayi is a First Generation artist who has remained unique in his expressions and these themes are so intrinsically unique that he stands alone as the master orator of the Shona spirituals. His love for nature and its relationship with man is as poignant in his art as it is in his narrations of what it means to him to be a Shona sculptor.

Mubayi was born in 1942 and he lost his late father in 1943. He began school when he was around the age of twelve years in 1954 at Munyaira School in Marondera. Mubayi’s maternal grandfather used to carve and make household implements out of wood and had paid as a form of dowry for his bride, wooden carvings of axes, hammers and spears.

At school Mubayi made clay animals and was very creative in his handwork classes. Mubayi was also focused on weaving and creating various ornaments. He won various prizes and always managed to take first place in art competitions especially in carvings and his clay moldings. His art was so impressive that some of his teachers would ask him to carve for him and paid him a shilling which in those days could buy a bottle of Coca-Cola® and he would still have four pence change.
Pioneering a New Way of Life – Generations of sculptors to come should recall the incredible persistence and generosity that has paved the way for many. Mubayi walked a path not traveled. He loves art for its own sake.

It was in 1967 that Mubayi met with other sculptors at Tengenenge and offered to work with them. He remembers that on a certain Friday he rode his bicycle to Highfields, a suburb then set-aside for indigenous Africans within the city now known as Harare. He arrived there with two other artists and they decided to begin work at Goromonzi, this party included Raymond Moses and Peter Galiza.
The art that was being sculpted was referred to as ‘self taught’ or ‘unknown art’ because it had to originate form the imagination of the artist and was very different to the fine arts. He later joined other exceptional artists such as the likes of Henry Munyaradzi, Funizani Akuda and Edward Chiwawa. He was also in touch with other artists in the Nyanga area and eventually met with Mrs Pierce of the National Gallery.

For some time Mubayi led the other artists at Tengenenge. After staying at Tengenenge for three years he joined the National Gallery in 1969 when Frank McCuwen was the director. Mubayi recalls how McCuwen was not on good terms with the Smith regime but was attempting in every way to assist the artists. When the controversial director left the National Gallery in 1979, Mubayi decided to leave and return to his roots in the rural areas. Mubayi received an offer to go to the USA but because of his marriage he decided to stay in Zimbabwe and went to Nyanga. There he was with John Takawira and Moses Masaya, two extraordinary artists. Here he began to take on the role of teaching aspiring artists.

Currently, Mubayi takes on students for three years at a time and wants to see aspiring artists making a name for themselves, rather than simply attempting to copy the themes and styles of established artists. Mubayi wants to see his art living on, but so will his incredible generosity, which is unparalleled in such a highly competitive discipline.

Emerging Themes and their Spirits – In his early days, Mubayi was mainly sculpting animals, birds, lizards and people. He also enjoyed working on skeletons and working in stone became more meaningful than the other art forms he had up until now continued to pursue. All these themes seemed to showcase his culture.
Another theme that Mubayi has been closely associated with is that of ‘spirits’, in this he reconstructs in stone certain Shona beliefs and superstitions about the spirit world and its interaction with the natural world. For instance in a piece titled ‘Rain Caller’ which is a bird closely associated with the coming of the rains. Of the spirits he believes in, he prefers to sculpt the bird spirit known as ‘hungwe’, which is the eagle and symbol of the ancient civilisation of Great Zimbabwe, Zimbaremabwe in Shona.

The theme of spirits and humans is rare amongst both First and Second Generation artists. For instance, ‘Man Changing into a Buck.’ This piece is on exhibition in Athens, Texas USA. Mubayi is relaying an old story of when humans used to have animal totems and live side-by-side with nature. He portrays a strong relationship that existed between humans and animals.

The Artistic Process: Moving with Stones – Mubayi begins the process of creating a piece of art by first placing it on a stand and examining it to determine what he can create from it. He will often leave a stone if he is not inspired and will return to it when he has a more stimulated mind and open spirit. He believes that he needs to be in control of the stone but there can be a dialogue through a vision or inspiration that is then relayed onto the stone. Nevertheless, the stone may not necessarily yield to all movements so he often rests and returns to follow the inherent movement which his artistic feel leads him to. Mubayi believes that even with the most difficult raw stones, as long as you follow the movement of the stone you can create something special and with time the stone will yield to give a reflection of the intended piece.

Angels under Flowers - Mubayi explains that when a child is born people buy him or her different gifts to demonstrate their joy. This piece speaks of the joy such life brings to the world. Here we have ten girls who are each given the gift of a flower, which symbolises the light and love God has showered on them from heaven. These baby girls are angels in the lives of those that love them. Mubayi is giving thanks and praises for life, not just to those born, but to the One who has created, Musikavanhu.

Cat – This is an impressive piece that demonstrates how creative Mubayi is in his movements. The inspiration emanates from his childhood where he grew up in a house full of cats. These were not just pets but were crucial in keeping away mice from the granary where their food and seed for sowing in the rainy seasons were kept. Mubayi refers to them endearingly as his ‘indoor dogs’ who were the only personal guards of their farming livelihood. This springstone piece is a fitting tribute and evokes respect and awe within the Beholder.

Messenger (Mutumwa in Shona) – The form illustrates a bird atop a person, this bird is an eagle. The origin of this piece lies in folklore, set in the times when people were not plenty and there were more animals and birds than human. The birds would give warnings to passers by about bad roads or snakes. The people respected the birds that would do this and with time the bird was represented by the spirit of the Chapungu bird. In this sculpture the person holding up the bird is giving it thanks.

Throughout his art Mubayi demonstrates his belief; that artists should strive to leave behind a legacy and this is possible because Zimbabweans continue to be amongst the most brilliant sculptors in the world and they have contributed immensely to the world of art in their own right. He believes that Zimbabwe will soon have a school for art.