Which Zimbabwean visual artists have made substantial impact in the last fifty years? What really went on in the beginning of the visual arts movement of Zimbabwe, specifically stone sculpture? Did anyone play a role in the emergence of the movement? If yes, who was it and what were their intentions?

The answers to the above have already begun to be heard or attempted to be constructed from early this month (January) until the next 12 months when the National Gallery of Zimbabwe sets outs to fulfill its plans to mark 50 years since stone sculpture (and painting) emerged in the country. While there are admittedly various views about the actual beginnings of the country's predominat art form - stone sculpture - it is undeniable that the art form has given the southern African country a unique artistic form to be proud of.

Among the visual arts of Zimbabwe, stone sculpture, a rather unusual art form given its medium yet beautiful in its finished product form stands out. Given this factor, and the art form’s uniqueness to carry with it lovely or crude messages depending on the creator, the focus for the National Gallery will naturally favour the stone sculpture realm. It is this pride that the country’s highest institution of art, visual arts in essence, has imbibed in the thought of reliving the origins, reflecting the growth and celebrating the international success of the artistic discipline, alongside painting. Add to it, the reverence with which it has grabbed continuously the attention of the international community, then we have a bigger picture why the series to come at the National Gallery will be dominated by the sculpture medium.

The above view should however, not demean the presence and impact of the painting sector, which has since the same time span added weight and recognition to the general success of the visual arts of Zimbabwe. So visitors to the National Gallery will be able to interract among some of the best established names in the art industry, those that have made significant contributions to the origination, growth, development and international acceptance of the country's rich and diverse visual arts sector. To this regard the gallery on Tuesday 16 January opened the first part of a year’s visual arts itinerary with an exhibition buy living legend Paul Gwichiri. A sculptor who began his artistic career during the early Workshop Arts School (in then Rhodesia), Gwichiri has remained humble producing a steady flow of work as and when he finds time from his official duty as a security person at the Harare based institution.

Gwichiri's official job has not deterred him from working on an art form that has given him regional and world recognition as one of the few living sculptors working in Zimbabwe today. Sculpting regularly he still creates attractive and original [pieces that carry his signature without difficulty to trace. The same week the National Gallery also featured a day’s lecture on the origins of the stone sculpture movement. Fabian Kangai, the well known visual arts lecturer at the University of Zimbabwe and former Education Officer with the gallery gave an inspiring and revealing analytical review of the last 50 years on the visual arts with sculpture talking center stage.

Invited guests heard how the legendary and late Frank McEwen, had arrived in Zimbabwe from Europe and began to work alongside some of the earliest sculptors such as Mukarobgwa, Ndandarika, Mubayi, Manyandure, Munyaradzi, among others. It was interesting to learn the influence he wielded over the sculptors especially with his European background which meant that he had ready connections to assist in the exposure of the rare art form of sculpture which was largely confined to locals.

Perhaps one of the major features of the year’s programming is the scheduling of the International Conference and Symposium on African Arts which will be held as a major event later on. The first one was held in Harare in 1962.

Women artists have not been forgotten with plans to have leading names already being planned to strongly feature their work in a marathon of events targeted to be staged at the gallery. This array of events will see visitor figures surpassing the 6000 mark registered last year. With the National Gallery having again shelved the idea of hosting the second Harare Biennale which was supposed to be held in March this year, it seems thy have replaced it with adequate programming that has potential to fill the gap and further develop and inspire the arts into the international arena.