TASHINGA Majiri hosts his debut solo exhibition at First Floor Gallery Harare (FFGH) with all eyes on him, unlike other first-timers It is rare for an up-and-coming artiste of his age to have such scrutiny, but because of his particular circumstances, he cannot escape the attention.
To his credit, he does not seem to let the pressure get to him, which could be part self-confidence, part encouragement from his spouse and without doubt, a lot of support from his gallery.
There is tangible energy in his show titled Maoko Maranda Majiri’s last showing was a joint exhibition with his partner, Amanda Mushate, with whom they have daughter.
The exhibition, which was titled Rudo Rwunouya Nemabasa (Love comes with work), had some people pointing out similarities that were seen as Majiri borrowing from his wife Early in his career, Majiri was more invested in screen printing.
His foray into painting and sharing a studio and resources with Mushate, on top of being intimately tied, can be used to either condemn or vindicate him It could have been a duet like a love ballad Some women felt strongly that it was an act of appropriation and male dominance.
If it got to him, it does not seem to have affected the young couple who endearingly act as if they are on an extended honeymoon.
One noticeable thing about Majiri’s latest work is the absence of extended lines that characterised his last project It may have something to do with avoiding further comparison to his spouse’s work. As a new aesthetic, the contained lines bring urgency to his subject matter.
The work is strong because of its singular focus on one part of the human anatomy, from which the title of the exhibition is derived: the hands Maoko Maranda is a Shona proverb that points to the utilitarian use of hands as tools In urban slang, to engage in a fistfight is also called kuita zvemaoko.
In martial arts, hands are used to punch, chop, or poke as a means of self-defence The fact that Majiri practices martial arts means the notion of hands as weapons is right up his alley.
Without folding under the weight of largely constructive criticism, the artist has come back stronger and more resolved Apart from telling their story by the condition of being chapped, carrying scars and having calluses, hands also communicate through sign language.
A wall panel of 18 small paintings, which carries the title of the show, invites people to contemplate in silence.
The installation depicts hands showing various signs Some look disfigured, while others seem lewd and potentially offensive, but all represent a form of silent communication.
Ndakachibata manages to contain a story of extraction of resources and wealth, while retaining focus on the hands that are shown holding a glowing, precious-looking object Mupanjere 1 and 2 depict the ceremonial partaking of cannabis and snuff, respectively It is a practice that is common at traditional ceremonies such as kuvhara matare and mukwerera.
The intimately observed gestures show the artist’s personal experience in these matters Kubata Maoko reminds viewers of the traditional custom of shaking hands as a way of expressing condolences to a bereaved family.
The disembodied hands give an impression of community and support during a difficult time A more literal translation of the theme is revealed through a series of paintings related to hand combat as a sport
One series of 5 paintings is titled Kumite, which is a Japanese term generally used in karate as a callout to begin engaging in the act of sparring.
The paintings depict boxing gloves in place for the hands It emphasises the notion of martial arts as a sporting discipline not a practice of violence Senpai depicts two bodies dressed in karate gear seemingly about to engage in combat The title suggests that one is the teacher and more advanced.
