Guns & Rain offers contemporary fine art online by emerging artists from Africa.
Joel Mpah Dooh’s small etching, ‘Postcard To My Sister’, flags the ongoing significance of the migrant experience in large African cities, particularly Johannesburg.
Ambiguous in nature, it proffers a window into the buoyant hopes as well as struggles of people navigating new urban environments. So too does it provide a poignant reminder of the social and economic contexts of family and familial networks.
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Mongezi Ncaphayi’s 'Compound Housing' pays homage to the scale of migrant labour which formed the backbone of the apartheid economy, and commemorates those who died between 1990-1994 in South Africa's townships.
The work also comments on the sub-standard and often brutal living conditions of the millions of South Africans who live below the poverty line in crowded environments.
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Themba Khumalo's cityscapes capture the beauty, energy, fears and grit of Africa’s wealthiest city. The vast scale and density of Johannesburg’s commuter taxi networks, the relentlessness of urban life, and famous landmarks like the Hillbrow tower all make an appearance in his etching and drypoint portfolio.
Wycliffe Mundopa’s paintings confront the issues facing marginalised groups in Harare’s underprivileged neighborhoods, specifically the plight of women and children. He transforms the drab fruit carts and dusty streets of Mbare, Harare’s most populous and high-density area, into a sardonic and contorted fantasyland of vice and excess.
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Sandile Radebe visualises graffiti in stark abstract sculptural forms instead of alphabetic lettering, and he uses this graffiti-based text as a point of entry to understanding and 'reading' city spaces. He is interested in the way language works to help construct our realities.
Rich stylistic detail and textures mark Bambo Sibiya’s linocuts and drypoint works, which gives insight into masculine identity and community on the streets of Johannesburg. It also reminds us of the strength of the city's informal economy, and related efforts to contain and control street traders and vendors.
Gresham Nyaude's practice is rooted in the colourful vernacular and the hustle of life in Mbare, Harare's most notorious high-density neighbourhood (ghetto).
The struggle and difficulties of survival are undeniable but no human environment is without humour.
And it is that humour, which Nyaude teases out of the narratives of daily life and morphs into his one figure jokes in Dog's Life - contortions and chimeras of humans and animals all doing what does not come naturally but what nevertheless has to be done if they are too make it until tomorrow.
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Invoking the feel of a Harare ghetto wall mural and ghetto life, this collaborative 'mural' work by Gresham Nyaude and Wycliffe Mundopa is a jumble of vignettes from the chaotic life which the artists share with their fellow Harareans.
It carries images and stylistic elements, which are typical of both artists' practices, but also create new merged idioms.
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Known for his contentious subject matter, Molete's mundane and clinically-depicted coat hanger speaks not only to unsafe ‘backstreet’ abortions but invokes questions about gender relations, power and inequality.
Wycliffe Mundopa’s paintings confront the issues facing marginalised groups in Harare’s underprivileged neighborhoods.
His work presents an opportunity to see how painfully and vibrantly women’s lives - whether they are the mother, prostitute, caregiver, breadwinner, the successful or the poor - reflect the conflicts of political agendas, tradition and shifts within contemporary life in Zimbabwe.
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