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298:(Springstone, 1995) on p. 94-95 and "Earth Spirit" (Serpentine, 1988) on p. 96-97. Several of these have characteristic rounded body-shapes and only two or three fingers or toes on each hand or foot. As explained by Olivier Sultan, "Matemera finds his inspiration in his dreams. He was haunted by 3-fingered beings, a residual myth or memory, of a tribe that live in the northern part of the country. His massive pieces have a bewitching character, halfway between the comic and the tragic."
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313:, finishing his work to a uniform polished surface. His subjects were animals, people or fantasy spirit creatures. None were rendered in a true-to-life way: he preferred to show exaggerated curves of breast, buttock or belly-button to reveal the relationship between humans, animals and the spirit world. As
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Matemera had two wives, with whom he had eight children, and he stayed at
Tengenenge throughout the war for Zimbabwean Independence at a time when many other artists abandoned their way of life. He became the symbolic leader of the community and from the 1980s gained worldwide recognition, with works
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Matemera deals in pleasures of the flesh. To him sexuality means a healthy appetite, to be nourished with opportunity and spiced with variety. His sculptures speak in a highly suggestive body language. He is the creator of sculpture in the raw — huge naked figures with breasts, buttocks and bulges,
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stone suitable for carving. By 1966, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists. This was in part because at that time there were international sanctions against
Rhodesia's white government led by Ian Smith, who had
219:, was very influential in bringing them to the attention of the international art community. Matemera first contributed to the Annual Exhibitions in the Gallery in 1967 and 1968: in 1969 McEwen took a group of works, mainly from Tengenenge, to the
171:, one of the Shona dialects, and had four years of formal primary schooling: like other boys, he herded cattle, made clay pots and carved wood. In 1963 Matemera was working as a contract tractor driver for tobacco farmers in Tengenenge and met
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in 1965, and tobacco was no longer able to generate sufficient income. Matemara was one of the first artists to take up sculpting full-time, joining others including
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in 1990, which depicts it on the front cover of the exhibition's catalogue. The catalogue "Chapungu: Culture and Legend – A Culture in Stone" for the exhibition at
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Catalogue published by
Chapungu Sculpture Park, 2000, 136pp printed in full colour, with photographs by Jerry Hardman-Jones and text by Roy Guthrie (no ISBN)
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charged with sexual energy and all at odds with their massive proportion and bulk.... There is in these sculptures an unspent power and a reserve of energy.
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chose
Matemera's work "Man turning into hippo" to illustrate the front cover of the paperback version of her classic book on Zimbabwean sculpture.
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Winter-Irving C. "Stone
Sculpture in Zimbabwe", Roblaw Publishers (A division of Modus Publications Pvt. Ltd), 1991,
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Winter-Irving C. "Tengenenge Art
Sculpture and Paintings", World Art Foundation, Eerbeek, The Netherlands, 2001,
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Blomefield T. Foreword in
Catalogue "Talking Stones II", Contemporary Fine Art Gallery, Eton, 1993. (No ISBN)
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603:"African Contemporary - Contemporary African Art Gallery: George LILANGA, The TINGATINGA School"
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and many others. In 1987, Matemera was invited to
Yugoslavia to make a large sculpture at the
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Sultan, O. "Life in Stone: Zimbabwean
Sculpture – Birth of a Contemporary Art Form", 1994,
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included in exhibitions in the US, UK, Germany, The
Netherlands and elsewhere.
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Harrie Leyten. "Tengenenge", Drukkerij Bakker/M.C. Escher Foundation, 1994,
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Award of Honour (Lalit Kala Akademi) VI Triennale, New Delhi, India, 1986
636:. "Tengenene Art Sculpture and Paintings", World Art Foundation, 2001,
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in 2000 has pictures of this and four other of Matemera's sculptures:
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Matemera was the son of a village headman, living near the town of
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274:(Serpentine, 1982), have toured worldwide; for example to the
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Matemera's sculptures are in the permanent collections of the
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Works by Matemera and his colleagues were exhibited in the
257:"Josip Broz Tito" Art Gallery of the Nonaligned Countries
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132:. His whole professional career was spent at the
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560:Contemporary Stone Carving from Zimbabwe, 1990,
419:Chapungu: Custom and Legend – A Culture in Stone
387:, Millesgarden Museum, Stockholm, Sweden and
270:Many of Matemera's exhibition pieces, such as
223:and elsewhere in the US, to critical acclaim.
484:"Biography from National Gallery of Zimbabwe"
408:, Afrika Museum, Berg en Dal, The Netherlands
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204:, who formed part of what is now called the
309:Matemera sculpted mainly in grey or black
385:Contemporary, stone carving from Zimbabwe
667:People from Mashonaland Central Province
467:"Zimbabwe: Stone Sculptor Matemera Dies"
342:1980 Feingarten Gallery, Los Angeles, US
317:commented in her biography of Matemera:
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208:of Zimbabwean sculptors in hard stones.
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117:(14 January 1946 – 4 March 2002) was a
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294:(Springstone, 1992) on p. 54-55,
290:(Springstone, 1998) on p. 42-43,
182:Unilateral Declaration of Independence
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414:1998 Botanic Garden, Hamburg, Germany
339:1969 Lidchi Art Gallery, South Africa
143:Bernard Matemera died in March 2002.
394:1991 Milt Pinsel und Muszel, Germany
362:, National Gallery, Harare, Zimbabwe
355:1985 Kresge Art Museum, Michigan, US
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411:1997 Musee de Jardin, Paris, France
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605:. 25 December 2006. Archived from
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367:Whispering the Gospel of Sculpture
327:Selected solo or group exhibitions
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677:21st-century Zimbabwean sculptors
672:20th-century Zimbabwean sculptors
376:, Foundation Beelden op de Berg,
435:African Contemporary Art Gallery
221:Museum of Modern Art in New York
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369:, National Gallery of Zimbabwe
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134:Tengenenge Sculpture Community
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406:Tengenenge Old Tengenenge New
348:1982 Janet Fleisher Gallery,
465:Mphisa, Rex (6 March 2002).
345:1981 Art from Africa, London
305:figure with exaggerated lips
286:(Serpentine) on p. 2,
245:National Gallery of Zimbabwe
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227:Later life and exhibitions
399:Stone Sculpture, Zimbabwe
288:The Man who Ate his Totem
215:whose founding director,
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389:Yorkshire Sculpture Park
276:Yorkshire Sculpture Park
155:1973 carving of an eagle
332:1968 New African Art,
249:Chapungu Sculpture Park
213:Rhodes National Gallery
136:, 150 km north of
469:– via AllAfrica.
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360:African metamorphosis
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609:on 25 December 2006.
401:, CCrt Galleries, UK
374:Zimbabwe op de Berg
315:Celia Winter-Irving
265:Celia Winter-Irving
147:Early life and work
16:Zimbabwean sculptor
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272:Great Spirit Woman
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591:978-1-77909-023-2
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165:Southern Rhodesia
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206:First Generation
198:Sylvester Mubayi
186:Henry Munyaradzi
115:Bernard Matemera
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23:Bernard Matemera
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217:Frank McEwen
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60:(2002-03-04)
58:4 March 2002
662:2002 deaths
657:1946 births
423:Kew Gardens
280:Kew Gardens
202:Leman Moses
190:Josia Manzi
167:. He spoke
67:Nationality
651:Categories
494:2011-06-30
452:References
378:Wageningen
311:serpentine
292:Young Bull
177:serpentine
119:Zimbabwean
71:Zimbabwean
39:1946-01-14
253:Frankfurt
180:declared
126:Shona art
89:Sculpture
77:Education
440:See also
284:Chapungu
261:Titograd
122:sculptor
95:Movement
80:Informal
48:Zimbabwe
46:Guruve,
430:Gallery
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247:, the
169:Zezuru
161:Guruve
138:Harare
105:Awards
417:2000
404:1994
397:1992
383:1990
372:1989
365:1989
358:1988
130:Shona
638:ISBN
625:ISBN
587:ISBN
562:ISBN
545:ISBN
537:ISBN
509:ISBN
425:, UK
391:, UK
352:, US
334:MOMA
200:and
55:Died
29:Born
259:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
