Simon Back’s ‘ADAM 2.0’ Challenges Perception and Meaning at First Floor Gallery Harare

‘ADAM 2.0’ might sound like a title straight out of a futuristic comic book universe, but it is instead the intriguing name of Zimbabwean-born artist Simon Back’s latest solo exhibition at First Floor Gallery Harare. Marking a return to the Zimbabwean art scene after his last major solo showing at Gallery Delta in 1989, this exhibition bridges decades of artistic evolution and philosophical inquiry.

Now based in Mauritius, Back is a protégé of the late Helen Lieros, one of Zimbabwe’s most respected contemporary artists. With ‘ADAM 2.0’, he presents 12 abstract works on paper and canvas, pushing boundaries of interpretation and artistic form. The title itself stirs Biblical allusions—Adam as the original man—layered with the implication of an “upgrade,” a new version of humanity, perhaps a spiritual or philosophical reinvention.

The artist’s distinctive approach is deeply abstract, described by curators and critics as “forms overlaid with planes of colour” and “gestural strokes … overlain with planes of white or colour.” This process creates a visual tension, where figures and forms seem to emerge from and dissolve into ambiguous backgrounds. There’s a deliberate push-and-pull between presence and absence, clarity and obscurity.

Viewers are not offered easy metaphors or direct symbolism. Instead, Back’s paintings ask for contemplation, not conclusions. His compositions resist the human instinct to identify, to name, to categorise. In doing so, he forces the audience into a space of uncertainty—a valuable place in what some now call a post-truth or post-factual world.

“This exhibition isn’t about decoding a message,” said one gallery attendee. “It’s about surrendering the need for answers and instead experiencing what is felt rather than what is understood.”

Back’s decision to paint over identifiable shapes with swaths of colour disrupts the usual visual narrative. Instead of leading viewers toward recognition, he pushes them away from comfort and familiarity. Any attempt to find a solid image—be it a flower, a human limb, or even the Zimbabwean flame lily—is constantly undermined by ambiguity. Some pieces may suggest fingerprints, disembodied body parts, or even hidden eyes, but none confirm their identity. The result is a dialogue between the artwork and the viewer’s own unconscious projections.

At 59, Back is no longer seeking revolution, but rather reflection. His previous exhibition, “Beyond Before,” staged at Matter Gallery in Toronto in 2020, hinted at this metaphysical outlook. The title itself rejected linear time and pointed toward a deeper spiritual awareness. ‘ADAM 2.0’ continues this theme, inviting viewers to abandon logical deduction and instead “behold without knowing.”

“Figuration is not a crutch for Back,” noted one critic. “He isn’t trying to tell you what to see. Instead, he asks you to unsee—to let go of the ego’s grip on visual certainty.”

Throughout his career, Back has exhibited in Canada, Italy, South Africa, Mauritius, and Dubai, gaining recognition for his meditative and immersive aesthetic. His art, while rooted in abstraction, is not devoid of emotion or meaning; it simply demands that the meaning come from within the viewer, not from the surface of the canvas.

‘ADAM 2.0’ is more than an exhibition—it is a philosophical challenge. It asks not, “What is this?” but rather, “Can you look without needing to know?” In a world saturated with instant information and visual overload, Simon Back’s work is a much-needed pause—a chance to see with the spirit rather than the mind.

The exhibition runs throughout the season at First Floor Gallery Harare, offering an opportunity for art lovers, thinkers, and seekers to step into the space between knowing and being.