Page 45 - Zimbabwe Stone Sculpure 1st Edition

5The collecting expeditions
Iam in constant contact with the artists and visit them often to acquire new work and give feedback. Most of the artists live in Harare or on farms or artist communities within a 200km radius of Harare. This is
a huge area so much time is spent on collecting expeditions, but this takes me to the heart and soul of the sculpture, so it is time well spent.
The artists let me know if they have some new work they want me to see and I drive out to their studios in an open-back truck lined with blankets to look at, and hopefully collect, new sculptures. Most studios are scenes of hyperactivity with family members and young apprentices milling around. The young apprentices spend time with established artists to learn from them and understand the commitment it takes to get to this level. They are initially given the worst jobs of cleaning and sanding sculptures but in return acquire the proper skills and techniques they will need. Often this is where new talent is found because the artists themselves recognize the potential. Sadly many of these young hopefuls do not have the X factor that can take them further so they eventually turn to something else.
It takes time to look at the work of the main artist, and that of some of the young apprentices he believes in, and this is where 30 years of experience are important. An expert has to recognize the quality of a particular sculpture, even if he does not like it personally, because other people will. The harsh reality of a commercial gallery is being able to sell the work. It is something that is often frowned on by art critics and purists but possessing commercial value is absolutely essential to the survival of any art. The artists have to be able to earn a living if they are to have the time and space to create; the gallery gives them a platform to sell but also to maintain quality and protect the integrity of their work.
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