I am completely captivated by the way Again Chokuwamba uses oil in his artwork. His transparent, airy, and layered compositions are filled with emotions, weaving together multiple stories while addressing critical questions of identity. Again's honest and pure paintings provide a sensual pleasure to the eye while also reminding us of our own fragility.

When did you feel deep inside that you needed to create?

From the very first day I was born, I saw myself as a creator. My father was a photographer, which had a profound influence on me. Throughout elementary school, high school, and college, I was actively involved in the arts. I graduated from the National Gallery of Zimbabwe Visual Arts Studios, and then, in July 2023, I enrolled at the First Floor Gallery in Harare, where I currently reside. It's been an incredible journey.

What did you learn from your father?

I didn't learn much from my father since he was a photographer, and I have never seen myself in photography, even though I appreciate this art discipline. But my father has supported me since day one, from high school to college and beyond. He was the one purchasing all the supplies I needed. He believed in me when no one else did, when my siblings and other family members were uncertain about my pursuit of art. They questioned what I was doing, but my father stood by me and said, "Let him do his thing."

How did you find your own voice?

I began my journey as a figurative artist, and I still consider myself primarily a figurative painter. However, it took a lot of experimentation, especially during and after my college years. For about five or six months after graduation, I had the opportunity to be mentored and work alongside many talented artists, including Gresham Tapiwa Nyaude, Helen Teede, Amanda Mushate, Grace Nyahangare, and Wycliffe Mundopa, who were all incredibly supportive of my work. I also received valuable guidance from Valerie Kabov.

These days, I spend most of my time working alone. I have a deep love for music, which plays a significant role in my creative process. I'm not sure how to describe it; it just happens. While I'm listening to music, I often feel inspired to start creating. The rhythm, the emotions, and the stories in the music often guide my brushstrokes and color choices, infusing my work with a unique energy and emotion.

I am so fascinated by the fluidity of your compositions.

After college, I primarily worked with ink and some paints. However, my artistic journey took a fascinating turn when I began experimenting with oil. The experience was unlike anything I had encountered with other standard paints. I was captivated by the process of mixing oil agents, ie, turpentine, linseed oil, and crystals to create something truly unique.

I also enjoy dancing while I'm painting, so sometimes I have to remove those performative elements. So, I started focusing on what I call "a wash," which serves my background. The underlying theme is that you don't have to cover the entire canvas with paint and things that don't mean anything. Instead, you can just paint in a corner or focus on specific areas.

This method makes a lot of airy space in your work. What do you think of transparency?

Sometimes I do it intentionally. One reason is that when I'm working with something fluid and watery, being transparent feels very real to me. It allows me to tell my stories and brainstorm ideas with this transparency. When I work with this transparent effect, it allows me to layer something on top, so I often layer different moods and feelings —maybe two, three, or four layers—all coming together as one cohesive piece. This process helps me explore negative and positive spaces effectively.

Let's just talk a bit about your figures. How do you want to depict them or express yourself through your figures?

First of all, the way I work with figures is closely connected to my background, as I am a very sensitive and vulnerable person. There is a notable aspect of fragility—humans are incredibly fragile. For instance, if I were to break someone else's heart, I can't erase what I've done to that person. That's why I believe humans are very, very fragile.

Many emotions are expressed in my works. If you look at about 90% of my paintings, you'll notice that I depict people with their eyes closed.

Do you want to talk about the fragility of your personality or of humankind in your works?

The aspect of identity and fragility is a recurring theme in my work. As an artist, I often find myself in a vulnerable position within our communities, where stereotypes about vagabond lifestyles can be damaging. Despite these challenges, we continue to strive for acceptance and understanding.

Have you ever thought of painting traditional black figures or silhouettes?

I don’t paint black figures, because I focus on what I want to express. Why do I choose to limit myself to one specific type of figure? I also want to reach a wider audience, not just black people.

However, in two of my paintings, titled "Kamera Yanga" and "Country Roads," viewers often assumed the figures were white females. I had to clarify that they were black figures, even though I painted them in lighter shades. Here in Zimbabwe, many women who are referred to as 'slay queens' use bleach creams to lighten their skin from black to white.

What does your community think about artists?

In Zimbabwe, we are very divided. First, we follow a conventional educational path: we attend primary school, high school, and then college. This process places us in a box, leading us to believe that after university, we must find a job and follow a traditional career path. However, now is the time to challenge this mindset. We need to educate our parents about the potential for artists to make a living. Many of them hold the misconception that one cannot earn a sustainable income through art.

How can art heal the community?

I can't fully explain the process, but art has many effects. For instance, if you're not feeling well, whether at home or in a hospital, taking the time to look at a painting, sculpture, or print can be beneficial. It offers a sense of comfort and insight. My own art, for example, it encompasses a range of themes, including memory, culture, and spirituality. The spiritual aspect, in particular, says a lot.

You like challenging taboos and stereotypes through your art.

Years ago, I often used public transport to listen to other people's stories, especially about their families. This helped me collect real-life stories for my work that I want to share. 

My art reflects human experiences. I usually create stories inspired by my experiences. I don't just focus on a single subject; I aim to reflect on the world and the community around me. Many people say my youthful perspective gives my work a fresh look. They might see me capturing the awkwardness of growing up and the anxieties that come with figuring out life.

For example, I like to paint nudity or semi-nudity. To me, it's all about identity—whether it's a boy or a girl, or a man or a woman. It's about your fundamental identity, like being recognized as a girl in your most natural state. I also paint physical intimacy to highlight the fact that there is a high incidence of child marriages. Families in these situations are often unstable—mentally, physically, and sometimes financially, which ultimately affects the entire community. It's a significant issue to explore through my works.

How do you want to depict women in your works?

I don't usually paint women alone; they often include male figures as well. However, about 95 percent of my nude subjects are women. The reason for this is easy: the population of women is generally higher than that of men, which contributes to my focus on this gender in my artwork.

What is the connection between nature and your figures?

I have immense respect for our mothers, my mother, the women, and the mothers of the earth. We honor them greatly because they are the ones who brought us into the world. I like combining and showing the natural beauty with the beauty of our mothers.

You enjoy painting windows and mirrors. What is their purpose?

A window has two sides. When I'm inside looking out, I see things differently than if I were outside looking in. This contrast is what initially drew me to explore the concept of windows more deeply. This is spiritual and poetic.

For example, when I observe someone outside through a window, it sparks countless visions and possibilities in my mind—hundreds, even millions of imagined versions of them. This experience is mutual; the same applies to them as well. It's extraordinary how interconnected we all are.

A year and a half ago, while I was on a bus, I would gaze out of the window and watch the crowd around me. It filled me with hope to see everyone engaged in their own lives, going about their business. Each person I saw was engaged in their own activities, which prompted me to reflect on my own contribution to humanity, society, and the world.

When you look in the mirror, you see yourself – that reflection represents a second version of you. I believe there are three aspects to your existence: your physical body, your spiritual body and your soul. I like to imagine having a conversation with myself, questioning my origins, and pondering where I am headed in life.

Your debut solo show in the First Floor Gallery, Harare, was titled Drowning My Senses. What kind of paintings were there?

I started an Open Studio Exhibition called "Incipience of Responsibility," and "Drowning My Senses" was a continuation of that theme. The beginning of responsibility is when you're able to be responsible for yourself, and one way to start is to take good care of your parents or try to repay them in some way. This is a part of the culture here in Zimbabwe. There is an expectation to pay back parents for what they have done—providing education, clothing, and care.

This sense of responsibility is deeply ingrained in our culture. But this tradition - I'm not sure if it's good or not - puts pressure on you. That's where the feeling of being overwhelmed returns to my mind. So Drowning in My Sense speaks about some of that pressure and the stages of life. 

My last show, titled Kusvika Parizvino, was entirely about my life, sharing a diary of my experience and environment. So, all my exhibitions are just one story.

In all those exhibitions, you can see various elements like flowers, tubs, and windows. However, what I love most among these elements is the flowers. I have a special connection to them because I used to grow flowers with my family in Mazowe in the early 2000s. They have been a part of my life since day one.

And what do you like the most in flowers, the smell or the colors?

The colors, obviously.

How do you use your colors?

I believe it stands on its own. Typically, I work with a scheme that incorporates the color wheel, which includes natural colors; the others are merely complementary. It operates independently.

I spent a lot of time working on color schemes in painting. You really need to understand your palette, including the various types of colors, such as the triadic colors, analogous colors, and complementary colors.

When composing, do you prefer loneliness, or do you want some interactions?

If you want to uncover the truth, you need to go to public spaces, as that's where real life unfolds. While painting, I find that my creative process flows naturally, and I sometimes struggle to explain how I work.

What does the process look like?

Just in case, I sometimes hire models or do sketches. However, I often find that my creativity stems from my imagination, whether it's through drawing or painting. It really depends on the mood I'm in at that moment.

Do you have a daily routine as an artist?

No, not really. I love to paint when I'm sad and depressed. Yeah, that's the way I feel like I produce the best, but that doesn't necessarily mean I don't produce the best when I'm happy.

Who are your role models?

Yes, I'm my role model, but of course, I do research on the late and living African painters, as well as the old white Masters. I like Francis Bacon, Claude Monet, Peter Doig…

What is the story behind the painting titled 'Kuhope ndirere'?

That painting represents my dreams, which I still have yet to fulfill. If you take a closer look, you'll notice that the figure is wearing one slipper. This represents the dreams I aim to achieve. I am confident that I'm not running out of time; I still have plenty of years and decades ahead of me. This is a journey, and I don't feel like I'm wasting time. You might also notice the clock in the painting. It doesn't resemble a typical 24-hour clock; instead, the numbers appear randomly. To me, this indicates that I'm giving myself time to grow.

What are you actually working on? What is your plan?

I just paint, as I always do, without a plan. However, I may participate in the upcoming art fairs.