Nickson Muti (1979)

Like many Zimbabweans, Nickson Muti’s roots began in the Mutare rural area where he was born on November 11, 1979. He attended primary school in Mutare, but after his mother passed away at a time, when he described himself as “too young,” his elder brother assumed responsibility for him. He then moved to Harare where he received his secondary school education and began his education in life, adjusting to the challenges of urban life as an orphan.

Zimbabwean youths living in and around Harare often receive their exposure to the sculpture arts through another established artist and Nickson’s experience was not different. In 1991, Nickson was introduced to the art of sculpting by 2nd generation artist, Tamo Kanyangee, as an assistant, who cleaned the pieces and in the process learned art and skill of stone sculpting. The economic hardships of Zimbabwean life often force young aspiring artists to accept less than favorable apprenticeships in order to break into the business.

Nickson transitioned himself from an apprentice to an artist with his first piece, “Believers.” This piece casted a church choir, which reflected his belief in the family unit and God. Nickson explained to Kush, “Everything we do and can do, we must believe to God.” Carving pieces of families expresses his love for his family and what family means to him and the importance of family within Shona culture. Going to church at an early age, with his mother, father and brother reinforced his connectedness with his family and spirituality. Those memories continue to inspire and motivate him. Sculpting enables Nickson to affirm his Shona culture and he expresses it in ways that can teach his fellow countrymen.

The economic potential of the art business offers hope to ghetto youths like Nickson, but that hope often seems bleak, especially when buyers try to give them unfair prices for their art. The daily challenges of selling in the Harare markets allow Nickson to appreciate the efforts of Kush to promote Shona artists and to help them improve their living conditions.

Only the hardest stones, like Serpentine and Springstone, bear the signature of Nickson Muti. The challenge of sculpting hard stones, the amount of effort it requires, and the satisfaction he feels when he’s done sculpting, assure Nickson that he has completed a piece worthy of his name and reputation. Nickson hopes that his effort will enable him to secure international exposure in galleries and museums.

(Quelle/Source Text: KUSH, 7.5.2006)

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