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The Shona Art Movement Zimbabwean Stone Sculpture Top Zimbabwean sculptors promoted by Guruve would never dream of using soapstone - so what do they use? Locally sourced hard serpentine stone is the ideal sculpture medium. Plus some handy information on care and maintenance of sculpture for proud owners... What are the sculptures made of? The majority of stones used in Zimbabwean sculpture are locally sourced and belong to the geological family Serpentine. They are sedimentary, having originally been laid down on a sandy seafloor, and metamorphic, since subsequent exposure to intense heat and pressure over hundreds of millions of years has transformed them into hard stone. Serpentines are rich in iron, so when the stone weathers it turns a rust colour. In Zimbabwe, they occur as part of the Great Dyke, a horseshoe-shaped geological formation stretching through the north and east round to the centre of the country. The natural weathering processes are now exposing the rocks at the surface. Colours range from yellow and green, through brown to black. Serious sculptors prefer the hardest varieties such as springstone (black serpentine), fruit serpentine and leopard rock. These dense stones have extremely fine grains and uniform structure, making them ideal raw materials for sculpting. Mines tend to be small-scale open cast operations. They are too small to cause any environmental damage and form a valuable alternative source of income to rural communities.
The basic sculpture process The sculptors are inspired by the form, colour and texture of the raw stone, and say that they wait patiently for it to speak to them. When inspiration strikes, they use a hammer and chisel to strip away the extraneous rock and reveal the sculpture within. Fine details are worked with smaller files, punch hammers and other specialised tools. Smooth surfaces are created using a rasp; then the sculptor uses sandpaper, first coarse then progressively finer, to finish them off. Polishing is the final touch: first the stone is heated using a paraffin blowtorch or an open fire, then clear wax is applied. When the stone has cooled, but is not yet cold, the artist buffs up the waxed area with a soft cloth to create the shine and give depth of colour. Waxing seals the surface of the stone so rainwater cannot penetrate the sculpture, making them suitable for display outdoors. Given the hardness of the stones used, even unwaxed sculptures will be fine outside, as the rate of weathering is very slow. Frost can attack cracks in the stone, so if your sculpture has any flaws (very unlikely) keep it inside. If you need any further information on care and maintenance of your sculpture, contact Guruve for advice. Related links:
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