Waddimba gives woman new face
Oct 28, 2004
HE blends painting, sculpture and functional art yet Edward Waddimba still comes out pretty good in the three forms.
By Stephen Ssenkaaba
HE blends painting, sculpture and functional art yet Edward Waddimba still comes out pretty good in the three forms. His ongoing exhibition at Design Agenda Gallery presents one of the richest, perhaps most diverse approaches an artist can employ in a single exhibition.
His repertoire consists of over 30 oil-on-canvass paintings, over 20 sculptures and a huge collection of functional art material including beds, sofa sets, lamp stands, dining sets, CD and magazine racks, among other office and domestic items.
But until you have critically looked at each of his different works, it is difficult to categorise Waddimba as a painter, sculptor or functional artist.
Raised by a single mother who unfortunately passed away, Waddimba uses his work to explore the love and beauty of the African woman. He highlights the woman’s face to portray happiness and warmth.
“Until recently, society has portrayed the woman as sad and vulnerable, but I want to change this perception through my art by portraying her as beautiful and happy,†says the artist whose arms are as chiseled as some of his sculptures.
In his exploration of human forms, Waddimba concentrates on the upper torso in which he simplifies the abstract representation of human forms. Enhanced by bold mystic lines, his work enjoys dark and light colours to give a rich composition.
“My work is usually characterised by the blues, yellows, greens and browns to create depth. His palate blends the rough strokes of a palate knife and the mild glazes of the brush to attain a rich texture that smoothens as the eye closes in on it.
Even though his work bears a strong inclination to cubism, abstraction and realism, the young artist denies this.
“I do not subscribe to any particular movement. It has been my ambition to stick to a particular style or subject,†he says.
His sculptures are inspired by African masks and figures reminiscent of traditional African values. To his masks he adds hair to identify with his upbringing and his child hood dream.
“My late mother was a hair stylist, so I grew up wishing to become one myself,†he says.
Characterised by sharp edges that turn at different angles to form three-dimensional forms, his sculptures constitute a fine blend of creativity and meaning yet his functional artifacts speak volumes about this artist who has struggled to establish himself on the art scene.
Ends
HE blends painting, sculpture and functional art yet Edward Waddimba still comes out pretty good in the three forms. His ongoing exhibition at Design Agenda Gallery presents one of the richest, perhaps most diverse approaches an artist can employ in a single exhibition.
His repertoire consists of over 30 oil-on-canvass paintings, over 20 sculptures and a huge collection of functional art material including beds, sofa sets, lamp stands, dining sets, CD and magazine racks, among other office and domestic items.
But until you have critically looked at each of his different works, it is difficult to categorise Waddimba as a painter, sculptor or functional artist.
Raised by a single mother who unfortunately passed away, Waddimba uses his work to explore the love and beauty of the African woman. He highlights the woman’s face to portray happiness and warmth.
“Until recently, society has portrayed the woman as sad and vulnerable, but I want to change this perception through my art by portraying her as beautiful and happy,†says the artist whose arms are as chiseled as some of his sculptures.
In his exploration of human forms, Waddimba concentrates on the upper torso in which he simplifies the abstract representation of human forms. Enhanced by bold mystic lines, his work enjoys dark and light colours to give a rich composition.
“My work is usually characterised by the blues, yellows, greens and browns to create depth. His palate blends the rough strokes of a palate knife and the mild glazes of the brush to attain a rich texture that smoothens as the eye closes in on it.
Even though his work bears a strong inclination to cubism, abstraction and realism, the young artist denies this.
“I do not subscribe to any particular movement. It has been my ambition to stick to a particular style or subject,†he says.
His sculptures are inspired by African masks and figures reminiscent of traditional African values. To his masks he adds hair to identify with his upbringing and his child hood dream.
“My late mother was a hair stylist, so I grew up wishing to become one myself,†he says.
Characterised by sharp edges that turn at different angles to form three-dimensional forms, his sculptures constitute a fine blend of creativity and meaning yet his functional artifacts speak volumes about this artist who has struggled to establish himself on the art scene.
Ends