Born in Zimbabwe, Hwami left her homeland at the age of nine amidst political turmoil. Drawing on personal experiences of geographical dislocation and displacement, her intensely pigmented paintings combine visual fragments from a myriad of sources such as online images and haunting family photographs, which collapse past and present into bold afro-futuristic visions.
While memories and visions of childhood in Zimbabwe have dominated her work to date, Gasworks’ exhibition bears testimony to her desire to reconnect with her country of origin, combining found images with pictures taken during a recent visit that forced her to confront her romantic notions of belonging and rootedness.
Looking for a way to immerse herself in present day Zimbabwe, Hwami spent a month at Dzimbanhete, an artist run space in the outskirts of Harare, and lived with a traditional healer. However, instead of gaining the spiritual connection she was seeking, this experience made her feel removed and 'othered’ by the inability to fully embed herself in the context she calls home.
Hwami’s new work embodies this personal search by layering digital collages produced on a tablet. These images become the starting point for large-scale canvases, a process that reflects on the specific role of mediation taken by digital technology and online communication in the everyday lives of diasporic subjects. The resulting work overlaps narratives and combines stories that provide a personal take on the representation of black bodies, gender and sexuality, while also raising questions about family roots and colonial routes, spirituality, political power and displacement. Within this, the exhibition’s title, (15,952km) via Trans-Sahara Hwy N1, literally maps the distance and route between Hwami’s home town in Zimbabwe and London. It also talks about Hwami’s physical and spiritual background as well as her journey into adulthood in the UK.
After representing Zimbabwe at the 58th Venice Biennale, Gasworks’ exhibition groups Hwami’s most ambitious body of work continuing her personal reflection on uprooting and re-grounding. Bold and tender, Hwami’s work interweaves memory, testimony, imagination and the political longing for a truer world.
Kudzanai-Violet Hwami’s exhibition is commissioned and produced by Gasworks, where she has been a studio holder since August 2018, and generously supported by Tyburn Gallery.
Gasworks commissions are supported by Catherine Petitgas and Gasworks Exhibitions Supporters.