Colour Is The Way

Zimbabwe Wed 08-07-2009

Colour Is The Way
Stephen Garan'anga

It is refreshing to see new works produced by an artist, especially when a noticeable change has lead to his maturity in style and accomplishment.

This can be seen in the new series of works produced by Barry Lungu’s, semi-abstract paintings in oil and acrylics that have developed a visual language that stem from his cultural and daily influences.

Against the modern political struggle and hardships, many artists draw primarily on their traditional culture powerfully intertwined with their rural background to face the harsh realities of urban living in the towns and townships.

Barry Lungu is one of many Zimbabwean artists who use these influences as an outlet for creative expression in his paintings, sculptures, assemblages, prints and more...

Art work by Lungu

Black and red are considered symbolically threatening, if not powerful in some cultures, but these colours of paint catch my eye and remain in my mind when I view this new art work.

In this case, the ‘over’ use of the colour black in his paintings did not seem threatening, but some of the imagery used did have a powerful impact.

At his Chitungwiza home, which also doubles-up as an artist studio, Lungu has managed a balancing act of prolifically producing all his artwork within a confined space.

It is evident that the artist’s search and exploration with these different materials, satisfies his multi-faceted way of working, which also generates fresh ideas.

Although he speaks proudly and explains quite modestly the symbolism used in his paintings, I sense that there are inner influences at work.

There may possibly be a deeper meaning that lies behind those painterly surfaces. Lungu’s visually expresses, his pre-occupation with social concerns and cultural identity in Zimbabwe.

This in turn points to an artist who is socially aware and peeling away issues that some of us may take for granted. His titles give an insight into his perceptions: some traumatic titles are easily understood, while some of Lungu’s work is left untitled, as if labeling them would diminish their visual impact.

Lungu is one artist who intuitively plays around with marks and the fluidity of the paint. In some series he has pushed the paint beyond the boundaries of a ‘pretty picture’.

There are areas that are painted over and over again, in a semi-abstract style while obscuring the original image with simple motifs painted on scratched areas to stress a point. These simple motifs act as markers to guide one through the painting.

“I feel at home with any media, but there is no actual medium that takes preference. My environment affects my work. The subjects of death, the political situation, land, retaliation, suffering and more all form part of my work”, states Lungu.

The colour ‘black’ is used easily and dominates most of his paintings, and is either brushed on roughly or textured with a knife. Crusted against the canvas in a blood-like state is the contrasting colour to black - the use of red. Does it represent blood or danger?

Questions are raised about what we are doing to ourselves, our land, and our country? Tradition vs Globalisation? What we witness is an instinctive playing around with dark earthly colours, which also reveal snippets of bright yellows and greens.

The building-up of different layers and textured surfaces gives his paintings a seductive, tactile quality, which is more evident in his semi-abstract work.

Some paintings ask questions. They speak out clearly – where are we now? Has development and technology clouded our ancestral heritage? This global visual translation challenges our own interpretation of contemporary perceptions of what one might think is good or bad in the name of ‘development’.

What lies behind Lungu’s search for a connection between rural and urban living is his own self-identity having been brought up in the rural areas, and currently living and working in what he defines as the Ghetto of Chitungwiza.

At first you can be seduced by the semi-abstract paintings, which may not be accessible to all. Yet, painting realistic scenes of rural and domestic lifestyles does not escape this artist’s dialogue.

Although a semi-abstract style is an important part of his visual expression, he has not forgotten the true accessibility of representation to the general public.

Globalization, urbanization, development, whatever you may wish to call or describe it can be positively or negatively received.

Some areas have been placed at a disadvantage when tradition and cultural values are oppressed or forgotten – resulting in a loss or dislocation of identity.

This rootlessness often underlines the importance of ‘belonging’ somewhere. When does the contemporary become tradition in art?

Suddenly, I remember that I am not in a gallery, but have had the privilege of being invited to an artist’s home and studio.

I have also been able to witness the process and hear the ideas that inform how Lungu works in various media. All of this before the artwork is shown in the gallery.

Born in 1971 in a family of five, Barry Lungu was born to an artistic family where he was encouraged from a young age to develop his inherent abilities.

He completed his art training at the B.A.T. Visual Arts Studios of the National Gallery of Zimbabwe in 1992. He gained tremendous inspiration and motivation from fellow artists whose varied styles and expertise took a marked impact on him. Since then he has taken his work to insurmountable heights and showcasing across continents.

Currently Lungu has a figurative panting show that has just commenced at Richard Rennie art gallery in Harare. Here he derived profound inspiration from the day to day events of life in his Chitungwiza home town.

His individual style and technique has evolved inexorably and calls it Afro-impressionism. The exhibition at 7 Downie Avenue, Alexandra Park, Harare, Zimbabwe closes its doors to the public at the end of the month of July 2009.

For more information visit www.richardrennie.com

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