international art bureaucracy – as they were in the 1990 Biennale – these African carvings shine out in a desolate world." In spite of increasing worldwide demand for the sculptures, as yet little of what McEwen feared might just be an "airport art" style of commercialization has occurred. The most dedicated of artists display a high degree of integrity, never copying and still working entirely by hand, with spontaneity and a confidence in their skills, unrestricted by externally imposed ideas of what their "art" should be. Now, over fifty years on from the first tentative steps towards a new sculptural tradition, many Zimbabwean artists make their living from full-time sculpting and the very best can stand comparison with contemporary sculptors anywhere else. The sculpture they produce speaks of fundamental human experiences - experiences such as grief, elation, humor, anxiety, and spiritual search - and has always managed to communicate these in a profoundly simple and direct way that is both rare and extremely refreshing. The artist 'works' together with his stone, and it is believed that 'nothing which exists naturally is inanimate' - it has a spirit and life of its own. One is always aware of the stone's contribution in the finished sculpture and it is indeed fortunate that in Zimbabwe a magnificent range of stones are available from which to choose: hard black springstone, richly colored serpentine and soapstones, firm grey limestone and semi-precious Verdite and Lepidolite. Jonathan Zilberg has pointed out that there is a parallel market within Zimbabwe for what he calls flow sculptures – whose subject matter is the family (ukama in Shona) – and which are produced throughout the country, from suburban Harare to Guruve in the northeast and Mutare in the east. These readily available and inexpensive forms of sculpture are, he believes, of more interest to local black Zimbabweans than the semi-abstract figurative sculptures of the type mainly seen in museums and exported to overseas destinations. The flow sculptures are still capable of demonstrating innovation in art and most are individually carved, in styles that are characteristic of the individual artists. Another artist, Bryn Taurai Mteki, created a large sculpture titled “Chippi”, which was unveiled during the sixth All-Africa Games, hosted in Zimbabwe in September 1995. This sculpture also served as the games mascot. It is 2.5 meters high and is now displayed at the National Sports Stadium in Harare alongside the