Godfrey Machinjili
Godfrey Machinjili, born in 1969 in Mozoe. He was of Malawian origin (of the Chewa tribe). Godfrey first came into contact with sculpture in 1985 when he helped his older brother with his work. After he completed his schooling in 1987 he began to work on his own sculpture, then moved to Chapungu Sculpture Park to work.
He cited his brother as his earliest influence but said he soon recognised the need to break away and establish his own style. When discussing his work, Godfrey spoke very intensely about his style of sculpture and with great passion ? this in a very short period of time became the ruling element in his life. Godfrey demanded great progress and results of his chosen style.
The themes and imagery that appeared in his sculpture centre on natural, organic forms - chiefly trees and birds. Surrounded by these at Chapungu Sculpture Park he worked on sensitive portrayals in his Guinea Fowl, Doves and Peacocks sculptures, as well as pieces describing indigenous trees powerfully. Godfrey also worked with the human body, using the natural form of the head as a source of inspiration for sculptures such as Bride, Queen and African Head. As their titles suggest, these are not simply random images but portrayals of potent figures in Shona society. The desire to instil additional meaning and ?history? in his work was encouraged by a visit to the Tengenenge Sculpture Community. It was Godfrey?s first visit there and it effected him powerfully as many of the sculptors are of his age - he was struck by the important difference in the stories of the Chewa and the Shona, and felt that his work may have lost this link to his past. Although he felt that he must ultimately be true to himself (always having lived in Zimbabwe), nevertheless he believed this visit to have affected his work and ideas.
Another development in Godfrey?s career as an artist was the introduction to the process of bronze casting. The new found art form allowed him greater experimentation (being able to build up and take away with ease) as well as excitement about its possibilities - not only as a process for the reproduction of his stone sculpture, but also as a new material in itself. Despite the essentially European sculpture concepts inherent in bronze casting, a strikingly Zimbabwean identity is already beginning to appear very strongly in the sculptures, and it may well be that the stone sculpture will change to such new experiences.
Godfrey once said, ?My work has helped to develop my mind. I now look more closely at society. It is quite difficult to communicate to others the ideas you may have through stone - but I try to express a message concerning things I feel strongly about, such as the way we treat animals and the way people live.?
Godfrey Machinjili passed away in 2004.
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