Synopsis
Joy Kuhn's perspective on Zimbabwe stone sculptors and their mentors, Frank McEwen, Ned Patterson, and Tom Blomefield, is a highly personalized one; her narrative is downright chatty. But beneath all the first-person singular, one can glean some insights into these early pre-independence years of the movement, when Harare was still Salisbury, Zimbabwe was Rhodesia and "terrorists" were abroad in the land. Annoying, however, is the total absence of captions to identify the photographs; no names, no places; no dates; nothing, except a note that most are from the private collection of Tom Blomefield and so, presumably illustrate Tengenenge sculptures.
