As Handirubvi Wakatama Herring came to understand early on in her life, identity means everything to the Shona people of Zimbabwe. Until the age of 8, Wakatama Herring lived in her native land without her parents and, more importantly, without any intimate knowledge of her paternal relatives, all of whom identify as Gushungo.In the Shona language, Gushungo means crocodile. It represents one of several totems, or clans, under which the Shona people organize themselves. These totems, named after animals, facilitate unity around customs, traditions, and, most importantly, paternal ancestry.
That’s why, though she lived with her maternal totem in Zimbabwe, and would later reunite with her mother in the U.S., Wakatama Herring admits—up until recently— she’s been on a lifelong search for her father’s love.Artist Handirubvi Wakatama Herring explores her family history, healing journey and celebrates her roots in the exhibit “Magwenya” at Studio 3510 in Mt. Rainer, Maryland. (Ja’Mon Jackson/The Washington Informer)She calls that journey, “chasing the crocodile.” “Navigating life as a teen and adult, I had a fear of being left behind,” said Wakatama Herring, an artist and educator who lives in Prince George’s County, Maryland. “Moving forward has been challenging and acknowledging those things has been significant for me in terms of healing. Even though my biological father stepped out, and he wasn’t in the picture the way I needed him to be, I ended up gaining so many father figures.” During the holiday season, Wakatama Herring paid homage to those father figures and chronicled her healing journey in an exhibit titled “Magwenya,” which means a female crocodile. The exhibit, located at Studio 3510 in Mt. Rainer, Maryland, included more than a dozen drawings and paintings that Wakatama Herring created on her road to self-realization.
“The show was for me to show me for real — who I define myself as,” Wakatama Herring said. “And this is the last time I want to say that.”
Wakatama Herring, an alumna of Nationhouse Afrikan Centered School and George Washington University’s Corcoran School of Art & Design, said she conceptualized the “Magwenya” exhibit during the earlier part of 2024, and started painting pieces this summer.
“Art is a form of therapy before it’s a hobby, career or passion,” Wakatama Herring said. “This exhibit is a humble ‘thank you’ for supporting me when my paternal family should have.” Patrons who entered Studio 3510 between Nov. 30 and Dec. 21 followed Wakatama Herring on her stream of consciousness as they looked at pieces documenting key moments and people. In the “Magwenya” exhibit, each art piece sat atop kraft paper that had drawings of a crocodile, perhaps an allusion to what Wakatama Herring called the anxiety of filling her paternal void.In the “Magwenya” exhibit, each art piece sat atop kraft paper. (Ja’Mon Jackson/The Washington Informer)The first piece patrons saw furthest to the left, “Here Comes the Son,” is a drawing of a pregnant Wakatama Herring starting her healing journey as she thinks about the experiences of her mother, who birthed her at the age of 17. Another piece, titled “The Story I Can Only Tell Once,” uses a cross hatching technique with a pen to depict a family much like the one that raised Wakatama Herring’s mother, and later her during her mother’s relocation to the U.S.
Other pieces, like “Carry Me Home to Not a Mistake” highlight the first seven years of Wakatama Herring’s life, where she said she became aware of her parents’ absence during birthday celebrations. Wakatama Herring also pays homage to her late uncles, as well as grandparents and a cousin in pieces titled “Chengetai,” “Visions in Bloom,” and “My Grandfather: The Journalist.” “Mangwenya” ends with a red, black and white portrait of Wakatama Herring that’s surrounded by throwback photos of family members. In messages written on the margins of the kraft paper, Wakatama Herring acknowledges the Elands, her mother’s totem that raised her, the Lions, her grandmother’s totem, and the Eagles, the totem that formed after her mother entered the Nationhouse community and married into the Akoto family. A couple feet from that culminating piece hangs Wakatama Herring’s portrait of her husband, titled “Philip.” “I had an instinct that he would be my person, so I did a 2016 portrait,” Wakatama Herring said as she took a walk down memory lane. “My strength is making pictures of people I know. I make my best work when it’s dedicated to someone I’m connected to.”
Station 3510: An Incubator for Artistic Expression In 2018, Wakatama Herring counted among those featured in “We Got Next” an exhibition of artists under 30 years old funded by D.C. Commission on the Arts and Humanities and curated by Diedre Darden. Wakatama Herring’s work has also appeared in the NoMa Business Improvement District and Brick Lane Gallery in East London. Wakatama Herring’s relationship with Station 3510 started in July when she started hosting art classes at the space, which functions as a studio, gallery and marketplace for artists.Wakatama Herring also pays homage to her late uncles, as well as grandparents and a cousin. (Ja’Mon Jackson/The Washington Informer)Jarrett Hendrix, a photographer who owns Station 3510, said he’s hosted workshops and events for art lovers of all ages. He told The Informer that “Magwenya” was the eighth art show at Station 3510 since he started leasing the space earlier this year. Wakatama Herring and other artists, he noted, had their art on the walls of Station 3510 for either two or four weeks at a time. “A lot of times, artists want to share their gifts and the places are expensive or inaccessible,” Hendrix said. “They don’t provide the tools an artist would need to do something like this. The station provides tables, chairs, promotion and all the tools you need. We’re looking out for artists and people who want to teach.”
In speaking about “Magwenya,” Hendrix said Wakatama Herring took an approach unlike what he’s seen from other artists. He admitted being concerned when she requested hanging the exhibit up on the day of its opening. However, as Hendrix recounted to The Informer, Wakatama Herring’s vision came to life for him and an untold number of art patrons, all on her terms. “It made sense after she hung it,” Hendrix said. “She incorporated a lot of different things in her exhibit, which wasn’t typical. With the paper going around, it wasn’t just art on the walls. She had other items, like photos and clothes.” Some people, like Agnes “Aggie” Ashi, who visited “Magwenya” expressed their appreciation for learning more about Wakatama Herring’s Zimbabwean heritage. “She mentioned her family totems being the crocodile and the eagle, which I found fascinating because I’ve been exploring the subcultures within Bantu communities,” said Ashi, a member of the Bantu people in Cameroon. “Hearing about these symbols gave me a deeper understanding of her connection to her Zimbabwean heritage. It wasn’t just about learning about [Handirubvi] as an artist, but also about the rich culture and traditions that shape her story and inspire her work.As it relates to Wakatama Herring’s story, Ashi, who’s known the visual artist for seven years, said she appreciated and respected Wakatama Herring’s vulnerability.“I deeply appreciate and respect her willingness to be vulnerable through her work,” Ashii said. “It’s incredibly impactful when an artist shares such raw, human emotions. That openness creates a powerful connection, allowing the audience to see pieces of themselves reflected in the art. A part of me felt seen.”
Source: Washington Informer
