Africa-Press – Zimbabwe. IF in some way everybody has a divine calling upon their life, then visual artist Batsirai Muskwe might be a seer practising as a visual artist. His layering of abstract and figurative forms echoes the duality and intermittent dominance of the carnal versus the spiritual nature of human existence.
Muskwe’s solo exhibition at Chikwanha Hotel, dubbed The Vernissage of latest artworks by Batsirai Muskwe’, opens a window into his dynamic practice.
Muskwe’s show, which was opened to run concurrently with the inaugural Cheuka Harare Art Fair, was hosted under the Chitungwiza Artists Collective. It is their second exhibition at the same venue this year, as the collective bids to bring visual art to the community where its practitioners come from.
The artist’s work has been featured in many exhibitions in the country, including at the National Gallery of Zimbabwe.
Last year, Muskwe was artist-in-residency at Thapong Visual Arts Centre in Botswana, which culminated in his participation in a joint exhibition at the same venue. In this exhibition, the diversity of style seems to indicate that the body of work was supposed to be representative of the artist’s range. Moreover, the omission of a defining theme means the show cannot be faulted for lack of thematic coherence. It can be seen as an elevated studio visit, which is not a bad thing, because it forces the viewer to focus on individual works and their material qualities without the infringement of a curatorial voice.
The ‘Vernissage of current works’ features abstract and semi-abstract works in mixed media. The works are displayed from the reception, through a passage and into a multi-function space of the hotel, which has been adapted to an exhibition hall.
Some works can be described as figurative, but their impact is not derived from what they seem to represent. These are works such as ‘Deep’, ‘Preservation’ and ‘The Meeting’. ‘Deep’ is a headshot that resembles the bandaged head of a resurrected mummy. ‘The Meeting’ is composed of five figureheads represented by mask-like faces whose unique facial expressions are suggestive of dialogue and diverging opinions.
Semi-abstract works that clearly show combined processing include ‘Everyday 2’, ‘Writings on the Wall’, and ‘Transformation.’ These works carry tentative clues such as faint sketches of huts, faces and letters of the alphabet.
Some gorgeous, completely abstract works include the explosively-coloured ‘Places 1’ and ‘Places II,’ and the moody ‘Somewhere.’ A fertile imagination may be enticed into seeing the appearance of a looming city whose buildings are reflected off a large body of water. But the pieces are just delightful to look at even without needing to understand anything.
In a potent series that combines figuration with abstraction, Muskwe appropriates road signs to create visceral images that may speak to society’s collective anxiety. Despite the familiar symbols, the pieces cannot be interpreted in an obvious way, which is great for those who are against literalism.
‘One Way’ depicts a green traffic sign with a white arrow indicating direction. A humanoid caricature holding the symbol of a heart is incorporated into the composition, but it does not readily invoke some romantic notions. Likewise, ‘Give Way’ shows a similar character with the face partially obscuring a traffic sign, after which the work is titled. In another picture, a mask-like face with pouting lips partially obscures a STOP sign. Not many will quickly get the idea being communicated by the artist, but like the rest of the series, it has the power to command more than fleeting attention from those who pass through it.
As implied by the French term vernissage, Muskwe’s less formally curated exhibition was mainly an opportunity for the artist to unveil his recent work. In the show, Muskwe displays unlimited range while working within the concept of abstract art. Many viewers will be looking forward to another, perhaps more thematically focused and formally curated solo exhibition after this splendid revelation.
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