Wycliffe Mundopa Returns to the National Gallery of Zimbabwe with Solo Exhibition
Acclaimed artist and National Gallery of Zimbabwe Visual Arts Studios alumnus Wycliffe Mundopa has returned to the National Gallery of Zimbabwe (NGZ) for his first solo exhibition after making his mark on the international art scene. Curated by Fadzai Muchemwa, the exhibition is titled Ibwe Rakaraswa neMuvaki, a phrase derived from a biblical verse and popularized by Bob Marley’s song Ride Natty Ride, which speaks to the idea of rejection and redemption.
Mundopa, known for his powerful social commentary, explains that the title refers to society’s outcasts—the marginalized and ostracized individuals who are often overlooked. His work is a striking exploration of the lives of Zimbabwean women, portraying them in unguarded moments that challenge traditional notions of femininity and respectability.
His paintings frequently depict women in states of partial undress, seated in relaxed, unselfconscious postures, or draped in clothing that accentuates their physicality. Despite their revealing nature, his subjects display no signs of shame or submission, instead returning the viewer’s gaze with confidence and defiance.
To some, Mundopa’s bold depictions of women may seem provocative, even controversial. However, his work resists simplistic interpretations that equate nudity with sexuality. Instead, he presents a more nuanced perspective—one that acknowledges the harsh economic realities forcing many women into difficult choices, including commercial sex work as a means of survival.
One of the exhibition’s standout pieces, Dull Day on the Market, captures four women seated in a marketplace, a hyena lurking at their feet. The image is layered with meaning, reflecting not just the economic struggles of informal traders but also the precarious position of women navigating Zimbabwe’s complex social landscape. The presence of animals, birds, and masked figures in his work adds further symbolic depth, allowing multiple interpretations of his themes.
Mundopa’s art challenges deeply ingrained societal biases, particularly the hypersexualization of Black women’s bodies. His paintings expose the contradictions within Zimbabwean culture, where nudity can signify either humiliation or protest, and where femininity is often associated with weakness. His work serves as both a critique and a reflection of the social, economic, and political forces shaping the lives of women.
Beyond his artistic vision, Mundopa’s personal background has played a crucial role in shaping his themes. Raised by his stepmother from a young age, he only later learned of his biological mother’s absence. Despite this revelation, he has maintained a deep love for both women, refusing to see his upbringing as anything other than an affirmation of maternal strength. His experiences have given him a unique perspective on the role of women in society, allowing him to portray them with empathy and realism rather than idealization.
Through Ibwe Rakaraswa neMuvaki, Mundopa continues his mission of giving voice to the unheard and unseen. His art is a testament to the resilience of women, the complexity of gender roles, and the ever-present struggle for dignity in the face of societal judgment. His return to NGZ marks a significant moment in Zimbabwean contemporary art, reaffirming his place as one of the country’s most compelling and thought-provoking artists.
