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Using memories, Kudzanai-Violet Hwami visits places she encountered as a child in post-colonial Zimbabwe and creates a parallel universe from them, revolving around a futuristic narrative of the country. In her work, the artist plays with the idea of an African utopia in which there is no space, no place and no borders, while at the same time referring to established cultures and traditions. Many images in her works are influenced by the growing popularity of subcultures, such as Afro-punk and grunge culture in Kenya and South Africa.
Other influences from music, such as ZimHeavy and Afrobeats, literature, and her own ongoing journey of self-discovery also form important sources for her work. The inclusion of random images found on social media as a further starting point is an invitation to the free play of the imagination, while the autobiographical material remains a source of reference. Themes grounded in her experiences of geographical dislocation or the questioning of her own identity in self-portraits and images of her family, reflecting on the black body and its representation, run like a thread through her work.
Her paintings could be read as autobiographical; as it is informed by the time she spent in her life stations in Zimbabwe, South Africa and England and is closely linked to her attempt to understand her Zimbabwean identity within the African diaspora. She uses photographs of her family from the s, which she processes in the form of digital collages and then paints on canvas. In her family portraits, the protective figure of the mother occupies a central place, as shown in the works Family Portrait and Lotus Her father appears in Father in Pin Light , and her brother and sister, who are twins, in Epilogue Returning to the Garden The two children lie on their sides looking at each other in the foetal position on a coloured background.
A great softness emanates from this scene, where the bodies seem suspended and protected in an intrauterine space, in a silent haptic communication. Their skin is partially covered by vernix caseosa, a waxy protective layer on newborn babies. The title, suggesting a return to the days of innocence while hinting at a climax the epilogue , expresses a hope for the future generation embodied by the twins.
