Stary Mwaba says it was being exposed to the work of Mark Rothko that revealed to him the possibilities in straying from a realistic form of painting to something more abstract. Indeed Mwaba’s paintings seem to be a marriage of realism with the a freer more abstract style, figures, rendered meticulously with intensely expressive faces are often found surrounded with more expressionist figures and backgrounds, representing a kind of internal dialogue or inner consciousness. Or perhaps it is the other way around; Mwaba’s subjects look pensive, deep in thought while the world around them fades into an abstract mesh of colour and form.
It is this technical and contextual duality in Mwaba’s paintings that make his work so intriguing and rewarding.
The catalyst for Mwaba’s talent came while he was a peer educator more than thirteen years ago. He found it easier to express what he wanted to say through illustrations and when facing extreme difficulties at home, painting became a useful escape and outlet for his feelings and thoughts. An artist friend eventually made him aware of the Visual Arts Council of Zambia, and Mwaba found himself surrounded by artists and art that have been crucial in his somewhat informal art education. At VAC and another art collective, Rockston, Mwaba learned that once the rules of art have been learned, they can be broken and boundaries pushed. Mwaba talks of the importance of learning the ‘language or art’ and that being an artist is more than being technically skilful with a brush or pencil.
Since his beginnings when he taught art in a private school and often slept in the local gallery, he has exhibited all over the world including: Gallery Momo in South Africa, The Watermill in New York City and a German expo in Hanover. In 2004 Mwaba won the Commonwealth Arts and Crafts award and consequently worked in Trinidad and Tobago along with artists Peter Doig and Chris Ofili.
Amongst his influences, Mwaba cites Klimt and Picasso and a Mozambique artist Malangatana. The fluid and graceful figures of Klimt can be seen in some his work giving his subjects of everyday people a powerful dignity. Being Zambian has been both a help and hindrance to Mwaba’s work. There is a distinct lack of role models for young artists in Zambia and very little opportunities within the education system to study art. Zambia’s art scene is still trying to find a secure platform and is little known internationally. It is also unfortunate that works of art by local artists do not get as much interest as they could from tourism and the ex-pat community. It seems that visitors prefer the more ‘typical’ souvenirs that comfortably represents the outsiders image of sub-Saharan Africa – African masks, for example or baskets, clay pots and wooden big game animals. They are also cheaper and easier to transport in your back pack. Despite this Mwaba’s work is without bitterness and refuses to adhere to African stereotypes, while portraying everyday life in Zambia with vision and originality. The everyday life and condition of people here Mwaba feels, has attuned his sense to the small moments that are full of meaning.
It is this technical and contextual duality in Mwaba’s paintings that make his work so intriguing and rewarding.
The catalyst for Mwaba’s talent came while he was a peer educator more than thirteen years ago. He found it easier to express what he wanted to say through illustrations and when facing extreme difficulties at home, painting became a useful escape and outlet for his feelings and thoughts. An artist friend eventually made him aware of the Visual Arts Council of Zambia, and Mwaba found himself surrounded by artists and art that have been crucial in his somewhat informal art education. At VAC and another art collective, Rockston, Mwaba learned that once the rules of art have been learned, they can be broken and boundaries pushed. Mwaba talks of the importance of learning the ‘language or art’ and that being an artist is more than being technically skilful with a brush or pencil.
Since his beginnings when he taught art in a private school and often slept in the local gallery, he has exhibited all over the world including: Gallery Momo in South Africa, The Watermill in New York City and a German expo in Hanover. In 2004 Mwaba won the Commonwealth Arts and Crafts award and consequently worked in Trinidad and Tobago along with artists Peter Doig and Chris Ofili.
Amongst his influences, Mwaba cites Klimt and Picasso and a Mozambique artist Malangatana. The fluid and graceful figures of Klimt can be seen in some his work giving his subjects of everyday people a powerful dignity. Being Zambian has been both a help and hindrance to Mwaba’s work. There is a distinct lack of role models for young artists in Zambia and very little opportunities within the education system to study art. Zambia’s art scene is still trying to find a secure platform and is little known internationally. It is also unfortunate that works of art by local artists do not get as much interest as they could from tourism and the ex-pat community. It seems that visitors prefer the more ‘typical’ souvenirs that comfortably represents the outsiders image of sub-Saharan Africa – African masks, for example or baskets, clay pots and wooden big game animals. They are also cheaper and easier to transport in your back pack. Despite this Mwaba’s work is without bitterness and refuses to adhere to African stereotypes, while portraying everyday life in Zambia with vision and originality. The everyday life and condition of people here Mwaba feels, has attuned his sense to the small moments that are full of meaning.
Good art
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