Shalom Kufakwatenzi's textiles evoke the raw, patchwork nature of Frankenstein's creation: irregular pieces of fabric stitched together, with yarns bursting unexpectedly from various sides. The stitches are uneven, fragmented, and crudely applied, giving the pieces a rough, unrefined quality.
Yet, beneath this surface lies deeper meaning, stories closely tied to the artist's life. Works such as "Under the Sea" (2023) and "Mubatanidzwa (Adjoined)" (2023), currently on display at the 60th International Art Exhibition in Venice, explore for example the transformative potential of fabric and its metaphorical resonance.
Born in Harare, Zimbabwe, in 1995, Kufakwatenzi grew up in Murehwa, where their fascination with fashion design was sparked by their mother, a part-time dressmaker.
Initially studying fashion and textiles, Kufakwatenzi imagined a future in fashion, but soon found their passion evolving. This shift led them to pursue Fine Art at the National Gallery School of Visual Art and Design (NGSVAD) in Harare, majoring in sculpture.
"Under the Sea" looks at the themes of longing and belonging. The piece features a dark base layer of fabrics and textiles, symbolizing a substratum of societal constraints, yet bright, bold colors dominate the surface, evoking the carefree essence of childhood and freedom. This fabric landscape embodies Kufakwatenzi's journey toward affirming their non-binary identity. The vibrant rainbow-like colors evoke the LGBTQ+ pride flag, reflecting the joy of self-discovery and the liberation of breaking free from restrictive norms. The darkness beneath represents the societal pressures that refuse to accept difference, a metaphorical sea of judgment and conformity.
In Kufakwatenzi's work, fabric becomes therefore a metaphor for identity: it can be stretched, folded, sewn, and adjusted, mirroring the artist's experience of exploring their identity within a queer context. The result is a poignant reflection on transformation, resilience, and the courage to claim one's identity in an often unaccepting world.
Kufakwatenzi's use of fabric goes beyond symbolizing her personal journey; it also reflects a physical geography. While "Under the Sea" evokes an individual's landscape, "Mubatanidzwa (Adjoined)" (2023) incorporates hessian, tobacco twine, wool and leather - materials tied to agricultural labor. This piece is more than an individual map, it gestures indeed to Zimbabwe's history, land distribution policies, displacement, and corruption.
In Zimbabwe, "adjoinment" refers to merging adjacent parcels of land, a practice that gained importance after colonization. When British colonial rule ended in 1980, the country faced stark land ownership imbalances. Fertile land remained in the hands of a white minority, while the Black majority was confined to less productive areas. Land reform aimed to correct these disparities, but it brought mixed results and controversy.
Adjoinment, meant to improve land utility, encountered challenges such as unclear land rights, boundary disputes, and issues with the capacity of new landowners to manage and develop their plots. Redistribution efforts were also marked by political tension and inconsistent implementation. The earthy tones in Kufakwatenzi's work, with broken lines, crisscrossed stitches, and parts that appear torn or extending beyond the fabric's edges, reflect this turmoil.
The layered fabrics in Kufakwatenzi's art symbolize the complex nature of identity and the intricacies of a nation. Just as fabrics are layered to create depth, human identity comprises cultural, social, and emotional layers that shape individuals and countries alike. The patchwork and visible stitches suggest healing and renewal, where mended seams celebrate resilience and history, much like scars that tell stories of survival and growth.
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