Tashinga Majiri Hosts Debut Solo Exhibition Maoko Maranda at First Floor Gallery Harare

Tashinga Majiri is commanding attention with his debut solo exhibition at First Floor Gallery Harare. Unlike many first-time artists, he faces intense scrutiny due to his unique circumstances. The spotlight does not seem to unsettle him. His confidence, support from his spouse, and the backing of the gallery create a strong foundation.

The exhibition, titled Maoko Maranda, radiates energy. Majiri’s previous show was a joint exhibition with his partner, Amanda Mushate, who is also the mother of their daughter. That project, Rudo Rwunouya Nemabasa (Love Comes with Work), drew some criticism, with observers noting stylistic similarities to Mushate’s work. Majiri’s earlier focus on screen printing shifted when he began sharing a studio and artistic resources with his spouse. Some interpreted this as appropriation, while others saw it as collaboration.

In Maoko Maranda, Majiri avoids the extended lines that defined his earlier work. The contained lines introduce urgency and focus, directing attention to a single theme: hands. The exhibition title, Maoko Maranda, is a Shona proverb highlighting the practical use of hands. It also references urban slang for fistfights and aligns with Majiri’s practice of martial arts, emphasizing hands as tools and weapons.

The installation includes 18 small paintings showing hands in various gestures. Some are scarred, chapped, or callused, symbolizing personal and communal experiences. Others communicate silently, through sign language or symbolic action. Works like Ndakachibata show hands holding glowing objects, reflecting extraction, labor, and value. Mupanjere 1 and 2 explore ceremonial cannabis and snuff use, highlighting traditional rituals. Kubata Maoko depicts hands expressing condolences, underscoring community and support.

A series of five paintings titled Kumite focuses on hand combat in martial arts. Boxing gloves replace hands, emphasizing discipline over violence. Senpai features two figures in karate gear, referencing mentorship and Majiri’s journey as an artist. The work suggests mastery over one’s craft and recognition of his mentors’ influence, stretching from FFGH to Dzimbanhete Arts and Culture Interactions.

Maoko Maranda aligns Majiri’s personal experience with martial arts and artistry. The exhibition celebrates hands as instruments of work, expression, and discipline. By exploring both functional and symbolic aspects, Majiri delivers a compelling debut that marks him as a distinctive voice in contemporary Zimbabwean art.