Joram Mariga
Encyclopedia
Joram Mariga has been called (and believed himself to be) the “Father of Zimbabwean Sculpture” because of his influence on the local artistic community starting in the 1950s and continuing until his death in 2000. The sculptural movement of which he was part is usually referred to as “Shona sculpture”, although some of its recognised members are not ethnically Shona
.
Joram Mariga died in December 2000 soon after arrival at Bonda Mission Hospital, following a car accident.
, (formerly called Sinoia) in what in 1927 was Southern Rhodesia
, Joram Mariga was ethnically Shona
and spoke Zezuru
, a local dialect. He was the son of artistic parents and would often watch his father and elder brothers (Copper and Douglas) at work carving wood; his mother made pottery
. Aged eight or nine, he started to carve wood, and at school he joined wood working classes. As a herdboy, his first subject-matter was cattle. Joram attended secondary school in Goromonzi
and studied at the Waddilove Institute. He qualified as an agriculturist and was employed by Agritex
.
His career as a sculptor in stone began in 1957 when he discovered some green Inyanga (Moon) soapstone
while he was working in Nyanga. After work, he started to use it to produce utensils and small figures and he is reputed to be the first artist in 20th-century Zimbabwe to use that material.
" – a source of serpentine rocks of many types including a hard variety locally called springstone. An early pre-colonial culture of Shona peoples settled the high plateau around 900 AD and "Great Zimbabwe
", which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction. When excavated, six soapstone birds
and a soapstone
bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture. However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when Frank McEwen
became advisor to the new Rhodes National Gallery
to be built in Harare
and from 1955 to 1973 was its founding director (it opened in 1957). The Gallery had been intended to bring non-African art to Harare but when McEwen created the Workshop School to encourage new work in painting and sculpture, the local community of artists re-discovered latent talents for stone sculpture. Joram was introduced to McEwen and soon they were in regular contact: Mariga exhibited at the Gallery extensively from 1962 but always worked on his own in his spare time and later at his studio in Greendale, Harare.
Later, McEwen would remember him thus:
By 1967, Joram was arguably the leading Zimbabwean sculptor, most of whom were then working in soapstone and one of his sculptures was depicted on a Rhodesian postage stamp, part of a set issued on 12 July 1967 to commemorate the Tenth Anniversary of the opening of the Rhodes National Gallery. Other stamps in the set illustrated works by Auguste Rodin
, Roberto Crippa and M. Tossini. In 1966, the first Tengenenge serpentine deposit was discovered by Tom Blomefield but it is unclear if Maringa was aware of this. In October 1968, Joram was transferred by Agritex to Katerere; there he went to look for stone for his sculpting and discovered its local varieties of serpentine. Soapstone was easily damaged and serpentine, particularly springstone, is a much harder stone that became widely used over the next few years. Appropriately, the word Tengenenge means "The Beginning of the Beginning!".
1969 was an important year for the new sculpture movement, because it was the time when McEwen took a group of works, mainly from Tengenenge, to the Museum of Modern Art in New York and elsewhere in the USA, to critical acclaim. It was also the year that his wife Mary (née McFadden)
established Vukutu, a sculptural farm near Inyanga
, which the artists could work. The list of names of sculptors who would become internationally well-known grew to include Bernard Matemera
, Sylvester Mubayi
, Henry Mukarobgwa, Thomas Mukarobgwa
, Henry Munyaradzi
, Joseph Ndandarika
, Bernard Takawira
and his brother John
: together with Joram Mariga himself they formed the “first generation” of new Shona sculptors. All contributed work to an exhibition called Arte de Vukutu shown in 1971 at the Musée National d'Art Moderne
and in 1972 at the Musée Rodin
, arranged by McEwen, who had lived and worked in Paris
prior to his appointment in Harare. Mariga was a member of the National Gallery of Zimbabwe
's Board of Trustees from 1982 till 1993.
As Jonathan Zilberg has pointed out, the nascent Shona sculpture movement was slow to gain momentum, partly because of the generally negative attitude in the 1960s and 1970s of local Europeans toward Frank McEwen and the sculptors he encouraged, in what was still a country ruled by a white minority government whose Unilateral Declaration of Independence in 1965 was seen by the United Nations as racist. According to Aeneas Chigwedere
, a Zimbabwean historian and politician, there were at that time very few educated black Africans who saw any value in what Joram Mariga and others were doing and they did not buy art that reflected their own culture, owing to indoctrination by the white ruling class. The importance of individual artists and their patrons in drawing the new sculpture movement to the attention of a worldwide audience has been discussed by Pat Pearce (a sculptor who lived in Nyanga and who first introduced Mariga to McEwen) and by Sidney Kasfir.
Much of Mariga's work includes themes drawn from the culture of the Shona people, and incorporates subject matter taken from nature. He believed that "One should avoid realism, create a large place for the brain and large eyes, because sculptures are beings who must be able to think and see for themselves for eternity". Many of his sculptures were carved in springstone but Joram also used more unusual stones such as leopard rock (a serpentine with green and yellow inclusions), and lepidolite
, in the lilac purple colour available to him. One of the lepidolite sculptures, “Spirit of Zimbabwe” (1989) was displayed at the Yorkshire Sculpture Park in 1990 and the catalogue for the exhibition includes both a picture (p. 28) and extracts from an interview with Mariga (p. 42-43) when he worked there from 22–30 July 1990. It also includes (p. 44) a picture of his large work “Communicating with the Earth Spirit” (1990). In 1989, two of Mariga's works were Highly Commended in the Zimbabwe Heritage Exhibition at the Natitional Gallery, where his solo exhibition "Whispering the Gospel of Stone" had taken place. One of these, called "Calabash Man", is illustrated in Celia Winter-Irving
's book on Stone Sculpture (see Further Reading) which also contains much additional material on Joram in his artistic context.
The catalogue “Chapungu: Culture and Legend – A Culture in Stone” for the exhibition at Kew Gardens in 2000 depicts Joram’s sculpture “Chief Chirorodziwa” (Lepidolite, 1991) on p. 100-101.
Besides being a sculptor, Mariga was a teacher, counting among his students John and Bernard Takawira
and Crispen Chakanyuka
, (all his nephews), Bernard Manyadure, Kingsley Sambo
, and Moses Masaya
. He would also take students from further afield, generally while travelling.
Shona people
Shona is the name collectively given to two groups of people in the east and southwest of Zimbabwe, north eastern Botswana and southern Mozambique.-Shona Regional Classification:...
.
Joram Mariga died in December 2000 soon after arrival at Bonda Mission Hospital, following a car accident.
Early life and education
Born near ChinhoyiChinhoyi
Chinhoyi is a large provincial town and is the capital of Mashonaland West province in Zimbabwe. Sinoia was established in 1906 as a group settlement scheme by a wealthy Italian called Lieutenant Margherito Guidotti who encouraged 10 Italian families to settle there.- Overview :Chinhoyi is located...
, (formerly called Sinoia) in what in 1927 was Southern Rhodesia
Southern Rhodesia
Southern Rhodesia was the name of the British colony situated north of the Limpopo River and the Union of South Africa. From its independence in 1965 until its extinction in 1980, it was known as Rhodesia...
, Joram Mariga was ethnically Shona
Shona people
Shona is the name collectively given to two groups of people in the east and southwest of Zimbabwe, north eastern Botswana and southern Mozambique.-Shona Regional Classification:...
and spoke Zezuru
Shona language
Shona is a Bantu language, native to the Shona people of Zimbabwe and southern Zambia; the term is also used to identify peoples who speak one of the Shona language dialects: Zezuru, Karanga, Manyika, Ndau and Korekore...
, a local dialect. He was the son of artistic parents and would often watch his father and elder brothers (Copper and Douglas) at work carving wood; his mother made pottery
Pottery
Pottery is the material from which the potteryware is made, of which major types include earthenware, stoneware and porcelain. The place where such wares are made is also called a pottery . Pottery also refers to the art or craft of the potter or the manufacture of pottery...
. Aged eight or nine, he started to carve wood, and at school he joined wood working classes. As a herdboy, his first subject-matter was cattle. Joram attended secondary school in Goromonzi
Goromonzi
Goromonzi is a rural community in Zimbabwe, southeast of the country's capital city of Harare. It covers an area of and has a population of 178,000. The people who live in the region are principally from the Shona tribe. The village serves as a trading centre for commercial, communal and...
and studied at the Waddilove Institute. He qualified as an agriculturist and was employed by Agritex
Ministry of Agriculture (Zimbabwe)
The Ministry of Agriculture is a government ministry, responsible for agriculture in Zimbabwe, . The incumbent Minister is Joseph Made and the Deputy Minister is Roy Bennett. The ministry is located in Harare...
.
His career as a sculptor in stone began in 1957 when he discovered some green Inyanga (Moon) soapstone
Soapstone
Soapstone is a metamorphic rock, a talc-schist. It is largely composed of the mineral talc and is thus rich in magnesium. It is produced by dynamothermal metamorphism and metasomatism, which occurs in the areas where tectonic plates are subducted, changing rocks by heat and pressure, with influx...
while he was working in Nyanga. After work, he started to use it to produce utensils and small figures and he is reputed to be the first artist in 20th-century Zimbabwe to use that material.
Development of Zimbabwean stone sculpture
Central Zimbabwe contains the "Great DykeGreat Dyke
The Great Dyke is a linear geological feature that trends nearly north-south through the centre of Zimbabwe passing just to the west of the capital, Harare. It consists of a band of short, narrow ridges and hills spanning for approximately . The hills become taller as the range goes north, and...
" – a source of serpentine rocks of many types including a hard variety locally called springstone. An early pre-colonial culture of Shona peoples settled the high plateau around 900 AD and "Great Zimbabwe
Great Zimbabwe
Great Zimbabwe is a ruined city that was once the capital of the Kingdom of Zimbabwe, which existed from 1100 to 1450 C.E. during the country’s Late Iron Age. The monument, which first began to be constructed in the 11th century and which continued to be built until the 14th century, spanned an...
", which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction. When excavated, six soapstone birds
Zimbabwe Bird
The stone-carved Zimbabwe Bird is a national emblem of Zimbabwe, appearing on the national flags and coats of arms of both Zimbabwe and Rhodesia, as well as on banknotes and coins...
and a soapstone
Soapstone
Soapstone is a metamorphic rock, a talc-schist. It is largely composed of the mineral talc and is thus rich in magnesium. It is produced by dynamothermal metamorphism and metasomatism, which occurs in the areas where tectonic plates are subducted, changing rocks by heat and pressure, with influx...
bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture. However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when Frank McEwen
Frank McEwen
Francis Jack "Frank" McEwen, OBE was an English artist, teacher, and museum administrator. He is best remembered today for his efforts to bring attention to the work of Shona artists in Rhodesia, and for helping to found the National Gallery of Zimbabwe...
became advisor to the new Rhodes National Gallery
National Gallery of Zimbabwe
The National Gallery of Zimbabwe is a gallery in Harare, Zimbabwe, dedicated to the presentation and conservation of Zimbabwe’s contemporary art and visual heritage...
to be built in Harare
Harare
Harare before 1982 known as Salisbury) is the largest city and capital of Zimbabwe. It has an estimated population of 1,600,000, with 2,800,000 in its metropolitan area . Administratively, Harare is an independent city equivalent to a province. It is Zimbabwe's largest city and its...
and from 1955 to 1973 was its founding director (it opened in 1957). The Gallery had been intended to bring non-African art to Harare but when McEwen created the Workshop School to encourage new work in painting and sculpture, the local community of artists re-discovered latent talents for stone sculpture. Joram was introduced to McEwen and soon they were in regular contact: Mariga exhibited at the Gallery extensively from 1962 but always worked on his own in his spare time and later at his studio in Greendale, Harare.
Later, McEwen would remember him thus:
The sculptural expansion developed in only 34 years. To give a true example, among others arriving from different parts of the country came Joram Mariga. He was not the first to come to the workshop, but one of the best...He brought me a little milk jug carved in soft stone. I realised this was an English milk jug for an Englishman who loved his tea! I asked if he could make a head. The head came, made also for an Englishman, in the style of airport art as acquired by tourists. "If you made a figure for your own family or your ancestors?" I asked. "Oh, that would be different." The figure came, this time of pure African concept - the enlarged head, seat of the spirit, a frontal static pose, a visage staring into eternity with formally posed arms and clenched fists. It was pre-Columbian in nature, as if a spirit image applied to stone could create similar results in spite of a difference of race, place and time.
By 1967, Joram was arguably the leading Zimbabwean sculptor, most of whom were then working in soapstone and one of his sculptures was depicted on a Rhodesian postage stamp, part of a set issued on 12 July 1967 to commemorate the Tenth Anniversary of the opening of the Rhodes National Gallery. Other stamps in the set illustrated works by Auguste Rodin
Auguste Rodin
François-Auguste-René Rodin , known as Auguste Rodin , was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past...
, Roberto Crippa and M. Tossini. In 1966, the first Tengenenge serpentine deposit was discovered by Tom Blomefield but it is unclear if Maringa was aware of this. In October 1968, Joram was transferred by Agritex to Katerere; there he went to look for stone for his sculpting and discovered its local varieties of serpentine. Soapstone was easily damaged and serpentine, particularly springstone, is a much harder stone that became widely used over the next few years. Appropriately, the word Tengenenge means "The Beginning of the Beginning!".
1969 was an important year for the new sculpture movement, because it was the time when McEwen took a group of works, mainly from Tengenenge, to the Museum of Modern Art in New York and elsewhere in the USA, to critical acclaim. It was also the year that his wife Mary (née McFadden)
Mary McFadden
Mary Josephine McFadden is an American fashion designer and writer.-Family:McFadden is the only daughter of Alexander Bloomfield McFadden, a cotton broker, and her mother was the former Mary Josephine Cutting, a socialite and concert pianist. Her father died in 1948, when he was killed in an...
established Vukutu, a sculptural farm near Inyanga
Inyanga
Inyanga is a Zulu word for a traditional herbal healer.An inyanga is a traditional South African herbalist, herb doctor, or medicine man or woman. The Southern African word inyanga is related to the Central African nganga, meaning a priest and medicine man...
, which the artists could work. The list of names of sculptors who would become internationally well-known grew to include Bernard Matemera
Bernard Matemera
Bernard Matemera was a Zimbabwean sculptor. The sculptural movement of which he was part is usually referred to as "Shona sculpture" , although some of its recognised members are not ethnically Shona...
, Sylvester Mubayi
Sylvester Mubayi
Sylvester Mubayi is a Zimbabwean sculptor.A native of the Chiota Reserve near Marondera, Mubayi worked as a tobacco grader after leaving school; in 1966 he moved to Harare to look for work at the Chibuku Breweries. He joined the Tengenenge Sculpture Community in 1967 as one of its first members,...
, Henry Mukarobgwa, Thomas Mukarobgwa
Thomas Mukarobgwa
Thomas Mukarobgwa was a Zimbabwean painter and sculptor who worked as a gallery attendant for much of his career.Mukarobgwa was born in Nyanga, in the countryside of what was then Rhodesia, and had limited education. His first contact with art came in 1956 when he met Frank McEwen, the newly...
, Henry Munyaradzi
Henry Munyaradzi
Henry Munyaradzi was a Zimbabwean sculptor. The sculptural movement of which he was part is usually referred to as "Shona sculpture" , although some of its recognised members are not ethnically Shona. He worked initially at the Tengenenge Sculpture Community, 150 km north of Harare near...
, Joseph Ndandarika
Joseph Ndandarika
Joseph Ndandarika was a Zimbabwean sculptor known for his figurative works.A member of the Shona tribe, Ndandarika was the grandson of a highly respected n'anga, and spent some time as his apprentice before becoming a sculptor. He joined Frank McEwen's Workshop School in Harare in 1962, beginning...
, Bernard Takawira
Bernard Takawira
Bernard Takawira was a Zimbabwean sculptor, the younger brother of John Takawira.Takawira was born in the mountainous Nyanga district, third of six children. Their father was often absent for work, and their mother, Mai, assumed a dominant role...
and his brother John
John Takawira
John Takawira was a Zimbabwean sculptor. The background to the sculptural movement of which he was a leading member is given in the article on Shona art.-Early life and education:...
: together with Joram Mariga himself they formed the “first generation” of new Shona sculptors. All contributed work to an exhibition called Arte de Vukutu shown in 1971 at the Musée National d'Art Moderne
Musée National d'Art Moderne
The Musée National d'Art Moderne is the national museum for modern art of France. It is located in Paris and is housed in the Centre Pompidou in the 4th arrondissement of the city. Created in 1947, it was then housed in the Palais de Tokyo and moved to its current location in 1977...
and in 1972 at the Musée Rodin
Musée Rodin
The Musée Rodin in Paris, France, is a museum that was opened in 1919 in the Hôtel Biron and surrounding grounds. It displays works by the French sculptor Auguste Rodin....
, arranged by McEwen, who had lived and worked in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
prior to his appointment in Harare. Mariga was a member of the National Gallery of Zimbabwe
National Gallery of Zimbabwe
The National Gallery of Zimbabwe is a gallery in Harare, Zimbabwe, dedicated to the presentation and conservation of Zimbabwe’s contemporary art and visual heritage...
's Board of Trustees from 1982 till 1993.
Later life and exhibitions
Mariga was married four times. With his first wife, Doreen, he had a daughter, Mary. His second wife was Philipa, the mother of Owen, Richard and Robin. Anne was his third wife who was the mother of Walter, Daniel, Aaron and Jay. In 1976 Joram married Maud but they had no children.As Jonathan Zilberg has pointed out, the nascent Shona sculpture movement was slow to gain momentum, partly because of the generally negative attitude in the 1960s and 1970s of local Europeans toward Frank McEwen and the sculptors he encouraged, in what was still a country ruled by a white minority government whose Unilateral Declaration of Independence in 1965 was seen by the United Nations as racist. According to Aeneas Chigwedere
Aeneas Chigwedere
Aeneas Chigwedere is a Zimbabwean politician, historian, educationist, and traditional leader. He served as the Minister of Education, Sports, & Culture since August 2001, and was appointed as the Resident Minister and Governor of Mashonaland East Province in August 2008...
, a Zimbabwean historian and politician, there were at that time very few educated black Africans who saw any value in what Joram Mariga and others were doing and they did not buy art that reflected their own culture, owing to indoctrination by the white ruling class. The importance of individual artists and their patrons in drawing the new sculpture movement to the attention of a worldwide audience has been discussed by Pat Pearce (a sculptor who lived in Nyanga and who first introduced Mariga to McEwen) and by Sidney Kasfir.
Much of Mariga's work includes themes drawn from the culture of the Shona people, and incorporates subject matter taken from nature. He believed that "One should avoid realism, create a large place for the brain and large eyes, because sculptures are beings who must be able to think and see for themselves for eternity". Many of his sculptures were carved in springstone but Joram also used more unusual stones such as leopard rock (a serpentine with green and yellow inclusions), and lepidolite
Lepidolite
Lepidolite Lepidolite Lepidolite (KLi2Al(Al,Si)3O10(F,OH)2 is a lilac-gray or rose-colored phyllosilicate mineral of the mica group that is a secondary source of lithium. It is associated with other lithium-bearing minerals like spodumene in pegmatite bodies. It is one of the major sources of the...
, in the lilac purple colour available to him. One of the lepidolite sculptures, “Spirit of Zimbabwe” (1989) was displayed at the Yorkshire Sculpture Park in 1990 and the catalogue for the exhibition includes both a picture (p. 28) and extracts from an interview with Mariga (p. 42-43) when he worked there from 22–30 July 1990. It also includes (p. 44) a picture of his large work “Communicating with the Earth Spirit” (1990). In 1989, two of Mariga's works were Highly Commended in the Zimbabwe Heritage Exhibition at the Natitional Gallery, where his solo exhibition "Whispering the Gospel of Stone" had taken place. One of these, called "Calabash Man", is illustrated in Celia Winter-Irving
Celia Winter-Irving
Celia Winter-Irving , was an Australian artist and art critic who wrote extensively about the Art of Zimbabwe, especially Shona sculpture, when she lived in Harare from 1987-2008 .-Early life:...
's book on Stone Sculpture (see Further Reading) which also contains much additional material on Joram in his artistic context.
The catalogue “Chapungu: Culture and Legend – A Culture in Stone” for the exhibition at Kew Gardens in 2000 depicts Joram’s sculpture “Chief Chirorodziwa” (Lepidolite, 1991) on p. 100-101.
Besides being a sculptor, Mariga was a teacher, counting among his students John and Bernard Takawira
Bernard Takawira
Bernard Takawira was a Zimbabwean sculptor, the younger brother of John Takawira.Takawira was born in the mountainous Nyanga district, third of six children. Their father was often absent for work, and their mother, Mai, assumed a dominant role...
and Crispen Chakanyuka
Crispen Chakanyuka
Crispen Chakanyuka is a Zimbabwean sculptor.Born in the Guruve district, Chakanyuka completed his schooling in 1960, and traveled to Nyanga to look for work. There he met Joram Mariga, to whom he was introduced by John Takawira. Mariga taught him to sculpt, soon sending him to Frank McEwen at...
, (all his nephews), Bernard Manyadure, Kingsley Sambo
Kingsley Sambo
Kingsley Sambo was a Zimbabwean painter and cartoonist.Sambo received training in the Bulawayo area before joining Frank McEwen's Workshop School in 1957; there he remained until 1973. A pioneer of easel painting in Zimbabwe, he served as a cartoonist for several African newspapers, and was also...
, and Moses Masaya
Moses Masaya
Moses Masaya is a world famous Zimbabwean sculptor.Masaya became a student of Joram Mariga in 1957 and worked with him for two years. In 1970 he joined an outdoor studio run by Frank McEwen in Nyanga, remaining there until 1974. Much of his work is inspired by his Shona heritage...
. He would also take students from further afield, generally while travelling.
Selected solo or group exhibitions
- 1962 New African Talent, National Gallery of Zimbabwe
- 1963 New Art from Rhodesia, Commonwealth Arts Festival, Royal Festival HallRoyal Festival HallThe Royal Festival Hall is a 2,900-seat concert, dance and talks venue within Southbank Centre in London. It is situated on the South Bank of the River Thames, not far from Hungerford Bridge. It is a Grade I listed building - the first post-war building to become so protected...
, London - 1972 Shona sculptures of Rhodesia, ICA GalleryInstitute of Contemporary ArtsThe Institute of Contemporary Arts is an artistic and cultural centre on The Mall in London, just off Trafalgar Square. It is located within Nash House, part of Carlton House Terrace, near the Duke of York Steps and Admiralty Arch...
, London - 1989 Whispering the Gospel of Sculpture, National Gallery of Zimbabwe
- 1989 Zimbabwe op de Berg, Foundation Beelden op de Berg, WageningenWageningen' is a municipality and a historical town in the central Netherlands, in the province of Gelderland. It is famous for Wageningen University, which specializes in life sciences. The city has 37,414 inhabitants , of which many thousands are students...
, The Netherlands - 1990 Zimbabwe Heritage (National Gallery of Zimbabwe), AucklandAucklandThe Auckland metropolitan area , in the North Island of New Zealand, is the largest and most populous urban area in the country with residents, percent of the country's population. Auckland also has the largest Polynesian population of any city in the world...
, New Zealand - 1990 Contemporary Stone Carving from Zimbabwe, Yorkshire Sculpture ParkYorkshire Sculpture ParkThe Yorkshire Sculpture Park in West Bretton, Wakefield, in West Yorkshire, England is an open-air gallery showing work by UK and international artists, including Henry Moore and Barbara Hepworth...
, UK - 1991 The Thirty Five Years, Chapungu Sculpture ParkChapungu Sculpture ParkThe Chapungu Sculpture Park is a sculpture park in Msasa, Harare, Zimbabwe, which displays the work of Zimbabwean stone sculptors. Its was founded in 1970 by Roy Guthrie, who was instrumental in promoting the work of its sculptors worldwide...
, Zimbabwe - 1993 Talking Stones II, The Contemporary Fine Art Gallery Eton, BerkshireEton, BerkshireEton is a town and civil parish in Berkshire, England, lying on the opposite bank of the River Thames to Windsor and connected to it by Windsor Bridge. The parish also includes the large village of Eton Wick, 2 miles west of the town, and has a population of 4,980. Eton was in Buckinghamshire until...
, UK - 1994 Joram Mariga: An Exhibition of Recent Sculpture, Chapungu Sculpture Park, Zimbabwe
- 2000 Chapungu: Custom and Legend – A Culture in Stone, Kew Gardens, UK
- 2001 Tengenenge Art, Celia Winter-Irving, World Art Foundation, The Netherlands
Further reading
- Winter-Irving C. “Stone Sculpture in Zimbabwe”, Roblaw Publishers (A division of Modus Publications Pvt. Ltd), 1991, ISBN 0908309147 (Paperback) ISBN 0908309112 (Cloth bound)
- Winter-Irving C. “Pieces of Time: An anthology of articles on Zimbabwe’s stone sculpture published in The Herald and Zimbabwe Mirror 1999-2000”. Mambo Press, Zimbabwe, 2004, ISBN 0869227815