Sculptor’s exhibit celebrates the art of consistency

Artist Alpheus Mvula’s very first artwork was a lino print rhino.

The year was 1995 and the young artist was a keen student at the John Muafangejo Art Centre.

Thirty years later, Mvula’s life-size, white marble rhino takes pride of place on Windhoek’s lively Independence Avenue and speaks to the artist’s longevity, penchant for recurring thematic exploration, and to his consistency.

Fittingly, ‘Consistency’ is the name of Mvula’s latest solo exhibition.

Currently on display at the Franco-Namibian Cultural Centre (FNCC) until 14 February, the showcase is a continuation of Mvula’s decade-long fascination with oongombe (cattle).

In ‘Consistency’, Mvula presents cattle in cardboard prints, mixed media or sculpts their likeness out of soapstone and marble.

“I was struggling to depict a cow out of stone for a very long time, but now I’ve really found success,” he says.

The sculptor attributes this triumph of technique to his consistency.

Mvula works every day.

The result is a prolific presentation of a veritable herd of stone cattle, each imbued with a story or expression, primarily conveyed through mark-making, the positioning of a horn, an ear or through the suggestion of movement.

“My consistency is my subject matter, my techniques, the quality of my work and the earmark,” says Mvula, referring to the recurring cut on the ears of his cattle, evident in print and sometimes in his sculptures.

“Cardboard print is one of Namibia’s successes and it’s one of my consistencies,” he says.

The celebrated printmaker’s detailed cardboard prints frame the gallery in depictions of identity, leadership, movement, travel, family and cubism.

“When I print my cattle there is something I always do. It is my father’s earmark, the mark of my clan. Even if you don’t see my name, you will see the cattle’s ear and know it is me. That’s my consistency.”

This manner of branding is the same way farmers identify their cattle in reality and Mvula echoes this practice through his compositional signature.

Standing for a portrait in front of a large, pink chalk mural, Mvula draws attention to the names printed amid a herd of cattle and to the shape of the cattle’s spots.

“They are named after southern African leaders like Kaunda, Nyerere and Nujoma,” says Mvula.

The artist’s oongombe often represent leadership, royalty, strength, heritage, culture and power.

“When you look at the spots on Nguni cattle, you can find different marks. If you look closely, you will see this one is shaped like Namibia,” he says.

Mvula’s cattle additionally represent communication.

“Earlier, people communicated through cattle,” says Mvula.

“Farmers got to know each other because of their cattle when they needed different types for breeding. The cattle horn was also used in music, which allowed people to come together and communicate. The horn is also a celebration of achievement.”

Mvula returns to the FNCC for what he estimates is at least his sixth or seventh showing at the gallery.

The acclaimed sculptor has curated his own presentation and the downstairs gallery is alive with consummate stone sculptures, myriad cardboard prints, a striking pink mural and embellished support columns.

“My consistency refers to how I’m consistent with my topic and in creating, exhibiting and selling my artworks,” says Mvula.

“I remember one of the journalists asked why it’s always just cattle, and I tell everybody that, until now, people find their message in my cattle.”

To cultivate consistency among local artists, Mvula hopes to see the creation of a contemporary art biennale in Windhoek.

“Artists need a space to express themselves within the city,” he says. “You can only have consistency when you are given a space.”

More generally, Mvula’s advice on maintaining consistency as an artist is practical.

“Consistency is about continuing with what you’re doing, appreciating it and exposing it as much as you can,” he says.

“When I create, I feel very powerful. Creativity gives me energy,” he says.

“The more I create new pieces, the more it allows me to go on.”

– martha@namibian.com.na; Martha Mukaiwa on Twitter and Instagram; marthamukaiwa.com