by Zimiso Nyamande
Kudakwashe Mangoma's art practice is a captivating exploration of African heritage and universal themes. Known as Baskwa—a name combining his admiration for Basquiat and part of his own name—he draws inspiration from Zimbabwean folklore and historical events. His work captures the essence of these narratives, honoring his roots while highlighting lesser-known aspects of African culture. Beyond his art practise, Kuda founded Baskwa Brewing, curates at Pikicha Gallery, directs M Collectif, and occasionally releases music as Tomi Sanka.
Baskwa's paintings, primarily hand-painted acrylics on canvas, delve into themes of love, mental health, and identity, creating a rich body of personal and collective experiences. This introspective approach allows him to resonate with diverse audiences, fostering shared emotion and understanding.
In his interview with artweb, Baskwa discusses how these influences shape his artistic practice, offering insights into his creative process and the impact he hopes to have through his work. This exploration not only highlights the depth of his connection to his heritage but also showcases the power of art as a medium for cross-cultural dialogue and personal reflection.
Zimiso Nyamande: Can you elaborate on how your African heritage inspires your artwork? Are there specific cultural elements or stories that you often find yourself drawn to?
Kuda Baskwa: My African heritage really inspires my art. My mum is a big art enthusiast, so I grew up surrounded by a range of work. She informed my earliest impressions. The diversity of the Zimbabwean culture carries with it the brightest and darkest of colors, patterns, phenomenal sculptures and traditions that have significant influence on my creativity. Stories and symbols, specifically of my Manyika heritage, frequently form the foundation of my work. I also consider, on a wider context, African diaspora, through the centuries, as an important channel of influence. There are many artists, across many mediums and cultures, that have greatly inspired certain works. It’s not too particular when I consider it now. It’s very much macro-scaled, but then I may focus on a particular language, tone or frame within that world, to translate into my own Baskwa world. These help me reinforce identity and belonging in my work and call to my attention, so I remember how strong and beautiful our differences are.
ZN: Your work blends elements of neo-expressionism, abstraction, and pop art. How do you decide which influences to incorporate into a particular piece?
KB: What I am trying to express informs my choice of influences in a piece. For me, neoexpressionism is an expression of raw, unfiltered feeling, and abstraction allows me to break down big ideas into universal symbols. Pop art brings with it an explicit, simple first impression. It calls for immediacy and accessibility. I learnt a lot about this through studying marketing communication, and the psychological elements that direct it. I lean heavily towards this. Each piece starts with an idea or feeling, and I let the creative process guide me towards the style that best captures the essence of what I want to communicate.
ZN: What is the most challenging aspect of transforming the "mundane aspects of existence" into creative pieces? How do you approach this challenge?
KB: Firstly, the premise of this challenge, is, as cliché as this sounds, a call to find the extraordinary out of the ordinary. To make ‘small things’ in life valuable. It requires me to be detailed and sensitive about all facets of life, which is very challenging in a fast-paced world, and entirely different to how I approached my life as a journalist. I do this this by trying to immerse myself in my surroundings – trying to understand people, places, and moments of life with curiosity and interest in the world. One of my favourite things to do is explore new cities. I really love walking through cities, towns, villages, and farms for hours. It’s best to look far beyond the evidence, searching for the more profound stories and emotions that lie within. This perspective enables me to take ordinary things and turn them into intriguing, thought-provoking pieces.
ZN: Your use of mute colors is very intriguing. Could you explain more about your choice in employing this technique, to what it is connected, and the message you want to convey in your art?
KB: The colors in my work are predominantly pastel because I find them calming and occasionally uplifting for both the viewer and myself. The characters’ expressions are muted, often depicted with solemn faces.The use of muted colors in my work represents the often overlooked nuances of human experience. As in, at first glance, it’s very simple, but there’s more to the human experience when you dig deeper. I believe that this approach encourages folks to take a closer look at the message being conveyed. They create a contrast with the more vibrant elements, highlighting the tension between outward expressions and inner realties. This technique allows me to emphasize themes of introspection, melancholy, and contemplation. It also challenges folks to look beyond the obvious and appreciate the subtle complexiTes of emotions and experiences.
ZN: Love is a powerful theme in your work. What does love mean to you as an artist, and how do you hope to inspire viewers to spread more love through your art? Also, what other themes do you explore?
KB: For me, it has always been a matter of connection through empathy and understanding. Love is one of the things that can bridge that divide and knit people into one unit. I started working as a journalist at a young age. I was 17 years old writing and reporting for sports publications in Australia and Zimbabwe. Then, at the age of 21, I became predominantly a political journalist. That experience taught me, with great intensity, about the strength of hate, which consequently made me seek love much more. Human consciousness is streamed to view the world purely from one perspective. We look at situations, events, and interpret what other people say and do, according to our own set of past experiences, culture, faith, values ― all of which help us form beliefs about ourselves, about others, and about the world in general ― thus many people struggle to empathize with the perspectives of others. This leads to misunderstanding, miscommunication and the misconstruing of alternate ideologies.I genuinely believe that an openess to more love can remedy this. I also explore themes of mental health, loss, and general pop culture references. I make my art to show myself love. I also make my work to spread word through folks, getting used to acceptance and kindness.
ZN: So, what has your art journey been like? What are some hopes and aspirations for it in the future?
KB: Primarily, my artistic journey has been one of self-discovery and healing. Moving from journalism to art me was, in every sense, life changing. It changed how I see and feel about the world, really, regarding expression. I have won battles against some odds, but each obstacle has brought important lessons and only made me stronger at heart. I feel that art has fed me an avenue to resilience. In the future, I look forward to wider audiences and collaborations with other artists to keep my own evolving style in focus. I plan to be doing this for at least another fifty years, so, check back on me with the same question in 2074. I have grand dreams and objectives, of course – but, ultimately, I would like my art to inspire a change in perspective, generate empathy, and bring out the inner light of darkened spirits
ZN: How has your artistic style developed since you started creating art, and what factors have affected its change or progress?
KB: My artistic style has developed from a literal representation, which was realism (the main kind of style taught in schools) to a more abstract, unique and expressive form, which you see today. It is still evolving, the more I learn and grow through lived experiences. Early in my career, I was heavily influenced by my journalistic background, which emphasized accuracy and clarity. Gradually, through time, more abstract and neo-expressionistic elements have been brought in: first Basquiat and Warhol, and then personal dealings with the struggle for mental health and growth. This indicates a movement towards deeper emotional and psychological scapes within my work.
ZN: What are your thoughts on the current state of the art world? How do you see yourself fitting into it?
KB: The art world is a very dynamic space at the moment. It has become increasingly connected with the issues of access and diversity. While there will indeed be challenges – for example, related to accessibility and representation – these are precisely the areas where I see the chance for further development and movement forward. I would hope to have somehow an influence in how the landscape shifts to accommodate further views and experiences. I believe that my work contributes to these conversations of identity, mental health, and mass culture by helping broaden the understanding of and appreciation for diverse narratives.
ZN: What is your belief of the role of art in society today, and how do you see your art contributing to or furthering that conversation?
KB: Art across all mediums is central to society because it is the prime channel for communication and reflection. There’s a lot more to it beyond its visual appeal. It challenges thoughts, triggers deep emotions, and can inspire a difference. I hope to be making art that joins the more extensive conversation of spreading understanding, empathy, and appreciation for the beauty of diversity. With my work, I want to make a space for the viewer to reflect on their own experience, and deepen the connection with others.
ZN: What project would you create if you could, without any limitation? Why does this project resonate with you?
KB: I would like to create a massive, interactive art installation that merges visual art, sound design, sculptures, and technology to look into the themes of mental health, love, identity, and community. As big as 10,000 square metres. This project would be a multi-sensorial experience for folks, giving them an in-depth connection to the themes, and a much deeper understanding of my world. This would be a space in which people could look into their lives, share stories, and find comfort. Without limitation also means that it would be free entry.
ZN: What are some of your biggest challenges as a visual artist? How do you overcome these obstacles in your creative process?
KB: I think the most obvious one for most artists is balancing creative effort with financial resources. The art market can be unpredictable, as so many of the factors behind it are outside of your control. I overcome this is through a combination of diversified income streams: exhibitions, commissions, merchandise, and workshops. Another challenge is keeping motivated and inspired in times of self-doubt. For me, the best way to deal with that is connecting with other artists, getting a bit of feedback here and there, and constantly exploring new ideas and techniques feed my soul and keep me engaged.
ZN: What inspired you to make art?
KB: I wanted to be a writer as a kid, and when I became a journalist at a young age and began actualizing some of my earliest dreams, I hit a bout of depression. I began going to therapy for the first time in 2015, and my therapist, from many conversations that unpacked my deeper interests recommended art as a form of therapy. So, my journey to take up art began as a practice when I felt the need for a novel form of expression and healing. I got hooked immediately, and the practice of painting became a consistent need. Post-depression, I realized that literature as a form of communication wasn’t enough for my emotions and experiences. Art turned into my therapy and opened ways of expression that words did not offer me. I experienced a feeling of peace and fulfillment while creating art. I still experience this and I find that it's one of the most powerful ways to work on myself and be with others.
ZN: What would be your advice to students who aspire to be artists in visual art?
KB: Firstly. Remain true to your voice and vision.
Secondly. Understand what you want from your art. Do you want to compete in the art world? If so, I’d recommend;
- researching to gain knowledge of the market and its history
- networking with artists, collectors, curators and gallery owners
- develop a unique and distinct style
- consitently work and evolve
- actively market and promote your work
- figure out what story you’re trying to tell
- understand how to price your work
- approach galleries that align with your style, for representation
- look into artists you rate, and figure out how they did it
- diversify your income streams
- work harder than you may already think; the dream only works if you do
- be prepared for rejection and get used to dealing with it, and continue creating
- understand legal and adminstrative aspects, such a contracts, taxes and keeping records of your sales
Ultimately. It is easy to lose sight of the meaning of our creations and the value of art in this economy-based world. The art world can predominantly be a commerce exchange, packed with shallow and pretentious conversations. So, as artists, we must remember that this craft is a gift. Creating art and living off it is a privilege and should be treated as such. Keep focused and remember how much value you bring with your uniqueness.
There’s more to being an artist than just making art. Figure that part out, and keeping going.
Follow Baskwa on IG @baskwa
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