Terrence Musekiwa
Sculptures, 2019-2022

Musekiwa reflects on concepts of connections; how to integrate new elements into life’s rhythms, and how to bridge cultural and territorial divides. Speaking through his maerials, Musekiwa draws spiritual connection to bridge worlds:

A Nigerian wooden paddle from Makoko, the world’s largest floating city, becomes the root of a series of black clay heads sculpted in Mänttä, a remote town in Finland surrounded by water.

A read opal stone head carved in his studio Zimbabwe is affixed to the bronze knife he forged in Hammeenlinna, Finland at the Siberia foundry. The character that emerges and stands on a wood base burnt in San Juan, Puerto Rico.

Valuable Metaphors was created upon Musekiwa’s return home to Zimbabwe after his stay with the CTG Collective in Newfoundland during 2016. The work is a monument to the artist’s first time seeing the ocean. Musekiwa collected hundreds of periwinkles, fascinated by their small structures, and later selected them one by one with the help of the collective members. The sculpture is a metaphor for bringing the ocean to Zimbabwe as seven Zimbabwean characters carved from spring stone admire the shells​ in awe​.

Terrence Musekiwa
Rhodesian worker, 2021
Springstone, plastic and copper telephone cable, 1900’s Salter Scale, copper wire, aluminum wire, brass rings.
43 × 30 × 20 cm

Terrence Musekiwa
Rhodesian worker, 2021
Springstone, plastic and copper telephone cable, 1900’s Salter Scale, copper wire, aluminum wire, brass rings. (Detail)

Terrence Musekiwa
Rhodesian worker, 2021
Springstone, plastic and copper telephone cable, 1900’s Salter Scale, copper wire, aluminum wire, brass rings. (Detail)

Terrence Musekiwa
Nyusa_1, 2022
Epidote stone and Wooden Barometer
30 × 13 × 13 cm

Terrence Musekiwa
Nyusa_1, 2022
Detail

Terrence Musekiwa
Nyusa_2, 2022
Epidote stone, aluminum wire, plastic
and Wooden Barometer
23 × 15 × 15 cm

Terrence Musekiwa
Nyusa_2, 2022
Detail

Terrence Musekiwa
Atenzi, 2021
Green opal stone, aluminum chain, steel, copper, and a sacrament cup
16 × 5 × 5 cm

Terrence Musekiwa
mudzidzi anononoka, 2021.
Springstone, rubber and metal shopping cart wheel, brass and glass costume jewellery
9 × 10 × 5 cm

Terrence Musekiwa
mukadzi wechirudzi, 2021
Serpentine stone, pressure controller, brass, silver, garnet, glass, and aluminium
16 × 7 × 7 cm

Terrence Musekiwa
Zvidyamafuta, 2019, Carved green and red opal stone, and metal knife and charred wooden base, 13.5 × 6 × 6 in

Terrence Musekiwa
Zvidyamafuta, 2019, Carved green and red opal stone, and metal knife and charred wooden base, 13.5 × 6 × 6 in

Terrence Musekiwa
Cutting edge, 2019, red opal stone, cast bronze knife and charred wooden base, 9 × 7 × 7 in

Terrence Musekiwa
Cutting edge, 2019, red opal stone, cast bronze knife and charred wooden base, 9 × 7 × 7 in

Terrence Musekiwa
_Pfungwa dzakawanda pamutumbi mumwe
(many minds one body)_, 2019, stoneware ceramics, glaze, gold, rope,
and Makoko wood paddle, 128 × 9 in | 326 × 22 cm

Terrence Musekiwa
_Pfungwa dzakawanda pamutumbi mumwe
(many minds one body)_, 2019, stoneware ceramics, glaze, gold, rope,
and Makoko wood paddle, 128 × 9 in | 326 × 22 cm

Terrence Musekiwa
Valuable metaphors, 2017, spring stone, tincaps, pipe, string, wire, sea shells, wood table,
173 × 120 × 38 cm | 68 × 47 × 15 in

Valuable Metaphors was created upon Musekiwa’s return home to Zimbabwe after his stay with the CTG Collective in Newfoundland during 2016. The work is a monument to the artist’s first time seeing the ocean. Musekiwa collected hundreds of periwinkles, fascinated by their small structures, and later selected them one by one with the help of the collective members. The sculpture is a metaphor for bringing the ocean to Zimbabwe as seven Zimbabwean characters carved from spring stone admire the shells​ in awe​.