History

Early  History

Through the workshop school and the many exhibitions of international standing that McEwen organised, the National Gallery was described as “the most dynamic in all of Africa.”  Renowned experts on African art such as Alfred Barr, Tristan Tzara, Michael Leiris, John Russell, Mrs. Webster Plas, Roland Penrose, and William Fagg visited the country to examine the work and its origins.  In 1971, McEwen organized a critical exhibition in the Musee Rodin in Paris.  This show was responsible for the serious assessment of the sculpture by the established art world.  Collectors and art lovers bought virtually every piece, and some remain in important collections today.

LeMonde, the Paris newspaper, carried the headline ‘Miracle in Rhodesia’ in bold print across its art pages. Parisiens were amazed that an artform previously unknown or non-existent could erupt with such power and vitality.

Other important exhibitions were to follow, chiefly Shona Sculptures of Rhodesia held in 1972 at the I.C.A. Gallery, London, and major shows at the Museum of Modern Art in New York, also in 1972.  These received much critical acclaim and marked the beginning of the acknowledgement of the sculpture as a serious genre.

Soon after the initial interest from international collectors and organizations, McEwen sought a new venue for his Workshop School.  Fearful of commercial pressures on the young work, he enlisted the help of sculptor Sylvester Mubayi in establishing a rural community in the powerful environment of the Eastern Highlands of Zimbabwe – the Nyanga district – and named it Vukutu.

“In Vukutu, an ancient sanctuary of great beauty and complete isolation, surrounded by sculpture-like rocks, our best artists came to live in an art community.  They hunted for pure food according to their belief in life force.  Here they produced their finest work away from the encroaching tourist trade.  It was the best move we ever made.”

It was Joram Mariga (b. 1927), a founder member of the Work Shop School, who helped McEwan to found Vukutu.  In later years, after decades of what he called “whispering the gospel of sculpture”, Joram fairly acquired the  reputation as ‘father’ of the movement.  Indeed, by then he had inspired and influenced a generation of sculptors, including founder members of other schools.  Joram died, aged 73 in December 2000, leaving behind a considerable legacy.