they had a majestic complexity to them - probably the most famous example is The Bull, which was mounted on the road to Lusaka International Airport. His painting Destiny, produced while Tayali was still in school, has been described as "an attempt to express the profound thoughts of a serious young man, about the struggles of Mankind now and in the future" and has been exhibited around the world., see also In 1991, it was purchased by the Lechwe Trust, a charity which supports visual artists in Zambia. Tayali had a close association with the Mpapa Gallery, where his works had often been exhibited. Speaking of his work in 1979, Tayali said, "My art is concerned with the suffering of the people and I want it to be the echo of that suffering. I see the problems of the continent... I am just recording what I and my people feel, but I do not attempt to provide answers to our problems ". Writing in 1980, the American academic Bob Barde placed Tayali's woodcut prints on a par with Europe's great printmakers such as Käthe Kollwitz and Théodore Géricault. Tayali's woodcut subjects were usually about the common African man (and woman), and the feelings evoked by his daily travails, and the prevailing political landscape of the times. Barde described his prints as "powerful" and said that he "seems destined to play an important role in modern African art." On a personal side, with his trademark paint-splattered jeans and majestic walk, he also had a terrific sense of humour to counterbalance his serious approach to work, and this sometimes broke out in - apart from the comments - exaggerated physical attributes on some of his subjects in a few of his works. The art writer, Jean Kennedy said that Tayali's work, "makes strong statements, frequently leavened with humor, about personal and communal tragedies". Legacy Tayali was one of the first Africans to work tirelessly to raise the profile of indigenous African art and crafts in Zambia, Africa, and the world through workshops, conferences, discussions, exhibitions, newspaper articles, magazines and television appearances. He played a very pivotal and influential role in cultural and artistic development in Zambia. and Africa. He was president of the International Association of Artists in Zambia (which fell under UNESCO), and represented Zambia at various international symposia and conferences. He also headed the Art Centre Foundation, the National Craft