shloboe boe
Mbulelo Mpofu, mbulelo.smpofu@gmail.com
AS one strolls through the streets of Bulawayo, the city’s artistic and cultural flair is undeniably evident, particularly in the striking sculptures that grace its urban fabric.
From the iconic two-figure composition on the eastern facade of Pioneer House to the intricately detailed relief sculpture at Galen House, these masterpieces are a demonstration of the exceptional talent of Gillian Kaufman (née Robotham), a renowned sculptor whose works have indelibly shaped the city’s visual identity.
With a firm handshake and a contagious smile, Kaufman welcomed a Saturday Leisure crew to her Burnside home.
Born and bred in Britain, Kaufman’s love affair with clay began at a tender age.
“My journey to becoming a sculptor wasn’t an extraordinary one, but I used to love playing in the garden with clay, like all children do, making all sorts of sculptures with clay. That’s how my love for clay products came about,” she said.
Kaufman’s passion for art led her to pursue a career in sculpture, which was further fuelled by her win of a gold medal for sculpture and a travelling scholarship in 1950. This accolade enabled her to further her studies in Greece, where she spent six months travelling and working at the British School of Archaeology in Athens.
In 1955, Kaufman visited Bulawayo (in then Southern Rhodesia) to see her sister, Jeane Hudlestone, and it was here that she met her husband, Basil Kaufman.
“Moving to Bulawayo was a blessing in disguise for me. I got a teaching post at Townsend High School and taught there for a short while before I went to sculpture full-time,” she recalled.
One of Kaufman’s most celebrated works is the Pietà, a visual representation of the Virgin Mary mourning over the body of Jesus Christ after His crucifixion. Commissioned by St Mary’s Cathedral, the project took nearly two decades to complete due to funding constraints.
Today, the Pietà, recast in bronze, is housed at the Talos Fine Arts Foundry in Quarley Hampshire.
Kaufman’s creative process is deeply rooted in her love for clay, which she sources from the Gwayi River.
Her iconic 18-foot sculpture depicting one European and one African figure working together with a pick and a shovel, hanging at the eastern facade of Pioneer House, required a staggering five tonnes of clay and an assistant to achieve.
As one explores Kaufman’s studio, it’s evident that her artistic talent extends far beyond sculpture. The space is a treasure trove of yesteryear artefacts, including sculptures, paintings, and books. A life-size piece of the late Gary Burne, the famous Bulawayo male ballet dancer, and busts of her family members are just a few examples of her remarkable body of work.
Kaufman’s connection to her adopted city and its people is deeply personal. She has a special affinity for the King Lobengula artwork, which represents Ndebele royalty and pride.
“I love my work, and it’s not easy to just pick only one artwork and say it is the best, but working on the King Lobengula piece with his spear and dog was special. Our region, Matabeleland, was full of Ndebele people at the time, and this was a visual representation of their royalty. King Lobengula was revered in these paths,” she said, her voice filled with emotion.
As Kaufman reflected on her illustrious career, she was visibly moved by the mention of the fish fountain at the Reserve Bank of Zimbabwe’s front porch.
“I hate to see them (fish) without scales, and I don’t know who and why they removed them,” she said, her face cringing in dismay.
When asked about her last piece before retiring from professional sculpting, Kaufman’s eyes sparkled with a hint of mischief.
“I’m sorry to be such a spoilsport, my memory is failing me, but I wanted to tell which one. I can’t remember,” she said, her laughter infectious.
Throughout her long and distinguished career, Kaufman has completed numerous public commissions in Britain and Africa. Her work includes the Rhodesian Coat of Arms and the Signs of the Zodiac for the Magistrate Court in Harare, as well as a portrait bust in bronze for Jairos Jiri and trophies for the Zimbabwe Music Academy.
At 96, as she looks back on her remarkable journey, she attributed her long life to exercise and a passion for her craft. Her daughter, Vicky, has compiled a book chronicling her mother’s extensive body of work, ensuring that Gillian Kaufman’s legacy will continue to inspire future generations.
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