‘Shona sculpture is perhaps the most important new art form to emerge from Africa in this century.’
       —Newsweek, New York—

‘Unlike art found in much of the rest of Africa, Shona sculpture ... has become a wholly indigenous modern art form created exclusively as a form of artistic expression.’
       —New York Times, New York—

‘There is a widespread assumption today that art must necessarily be international. …. But against this trend one finds isolated pockets of resistance, which suggest that good art can (perhaps must) be a local affair – the product of a particular place and culture. And of the one of the most remarkable in the contemporary world is the last 30 years …. placed beside the dismal stuff so beloved of the international art bureaucracy – as they were in the 1990 Biennale – these African carvings shine out in a desolate world.’
        —Sunday Telegraph, London—

‘Picasso was an admirer of early Shona sculpture; now evidence is surfacing that he was influenced by it, too.’
        —Town & Country Magazine, London—

‘The world's best unrecognized sculptors.’
        —The Economist, London—

‘This is the birth of a great national art, capable of speaking about the whole of Creation, from personal and family to the world of spirit, soul and self. It is a thrilling adventure of contemporary art.’
        —Arts Review, London—

‘During the past decade, Zimbabwe Shona Sculpture has become the most collected form of African art. It has found it’s way into important repositories such as the Museum of Modern Art in New York and the Rodin Museum, and into the homes of the Rockefellers, the Prince of Wales and Sir Richard Attenborough.’
        —The Oregonian—

‘If the perfection of art is measured purely by emotional expressive power, then this art is beyond perfection.’
        —West Indian World—