Brighton Sango

View artists gallery

Born 1958 in Guruve. Died 1995

Brighton Sango is now considered to be an important member of the Second Generation of Zimbabwean Sculptors who broke away from the “tradition” set by First Generation artists such as Sylvester Mubayi, John Takawira, Joram Mariga and Boira Mteki.  

This second  generation of artists looked for materials other than stone to express their ideas such as Tapfuma Gutsa, Dominic Benhura and Arthur Fata or they presented portraits of life removed from traditional Shona guidelines as seen in in works by  Agnes Nyanhongo, Eddie Masaya , Norbert Shamuyarira and Fabian Madamombe.   Despite a range of personal beliefs, there is no doubt that the urgency with which to speak of or document such ideals is lessening.  Western values and concepts are fast becoming a source of artistic inspiration, but often the subject matter explored by the Second Generation’s work is based on simple themes- pictures of daily life.   The poignancy and sense of humanity is as valuable an insight as those of traditional Shona society provided by the First Generation Sculptors.

Brighton Sango represents a further direction.  He is described by  Mor in his book, Shona Sculpture 1987, “ Brighton Sango has set out his own path and is today the most interesting and promising of the new group”  

Sango’s sculptural career began at Tengenenge.  He stayed only a few months before removing himself from the distraction and possible confusion created by other sculptors.  His work was heavily influenced by the figurehead of the community, Bernard Matemera.  Early figurative pieces by Sango have Matemera like enlarged features and sometimes grotesque faces which make his more  recent sculpture all the more remarkable.

The only sculptor to be working with purely abstract imagery, Sango set an important example for younger Zimbabwean artists.  With no artistic education, he made the decision to prevent outside influence on his work and he began to give voice to his very different ideas with conviction and pride.

Working with often difficult relationships of pure form and powerful sculptural mass, he portrays a wide range of ideas- sometimes of figurative origin as in Women Kneeling 1988 and Chapungu 1985 but often exploring human emotion and thought as in A Prayer or Us All 1988 and Silence 1992.  While aware of the often unyielding properties of stone, Sango is capable of presenting imagery – flat planes and changes of direction- with an ease more usually associated with contemporary steel sculpture.  His courage and dedication  inspired a complete community of sculptors, based in Guruve South. Artists such as Akence Makore, Luke and Francis  Mugavazi, Richard Katinimure and Edronce Rukodzi.

Sadly Sango took his life in August 1995 after a period of some confusion and depression. His work has continued to speak with great eloquence to international audiences at exhibitions that Chapungu has curated in museums and botanical gardens..