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WHEN Dominic Benhura presented his multi-piece “Leap Frog” spring-stone sculpture to local authorities some years ago, the idea must have been to have it occupy some public space for generations. But that vision is literally crumbling.The sculpture is still at its original display location at the front of Town House, but the main piece with a leaping figure balancing at the back of another is broken.  The sight is no longer the focal point of the site, neither is it still giving the same meaning as it did before.

The unfortunate part for “Leap Frog” is that it appears neglected, with no one seemingly looking to restore the sculpture to its original form.
The tale Benhura’s sculpture tells underscores the important need for both the artists and the organisations responsible for the art pieces’ display locations. Raw products used in creating sculpture react one way or another to their surrounding and due care is required to preserve them. The most basic but important form of care for sculptures stationed indoors is their dusting off using a soft dry cloth. Polishes, waxes and brushes are not helpful, because they have the ability to compromise the sculpture’s texture, colour, or for softer materials, form.

If ever moisture is to be used for cleaning, it is always important to consult the artist and find out if there is anything on the outside layer that has the ability to react to water or any other liquid. There are some materials, such as granite or cement that are hard enough to be rinsed using water.

But marble is different. Outdoor sculptures made of marble can soak up minerals from rain water or soil, or even the atmosphere around them that they may become stained.

To minimise damage, it has become standard practice to place the three-dimensional artworks on stands or tiles, so that there is no direct contact between them and the soil or plants within.  Little can be done to protect outdoor sculptures from rain because putting a shelter around them greatly reduces their aesthetic value.

A sculpture should create dynamism within its surroundings and having a structured shelter around it distorts its meaning and relevance.
For outdoor bronze sculptures, professional waxing is required at least once every year as a way to protect its glossy finish.

The patina, the chemically created colouring of the bronze surface that gives it its hue will not look the same over years but the occasional waxing ensures some retention of the original quality. It is also now being deemed important for metal sculptures to be wrapped in plastic for some periods during winter to protect them from sand, salt or any other corroding substances within the atmosphere. There is a reason why there are virtually no plastic sculptures outdoors under the full glare of the sun. Most plastics negatively react to ultra-violet rays and they quickly deteriorate in quality when under the sun for extended periods.

Indoor sculptures are relatively safer than those outside, but artificial conditions such as smoke, or steam from hot tub, jacuzzi or sauna can be dangerous.

Excessive humidity from steam may create rust and deposit other chemicals on a metal sculpture. Zimbabwe’s most celebrated form of sculpture is made from stone. There is need for understanding the local environment, including factors such as wind, heat, humidity and rain so that the effect of natural forces on the sculptures is clearly understood.

For Benhura’s “Leap Frog”, it may well have been wind that destroyed it.
Whatever the case, it is vital that the change of ownership from sculptor to another party is accompanied by instructions on how to prolong the sculpture’s existence for as long as possible. The sculptor too must be obliged to supervise its installation and should visit the site regularly to assess its condition.  It is rather pointless to come up with magnificent sculptures that only have a short shelf life. Unlike indoor oil paintings that require minimum supervision, Zimbabwe’s stone sculptures need to be constantly monitored to ensure that their quality does not deteriorate too much over time.

Polishing and waxing is one answer, but some pieces, particularly those with big patches of rough, negative space look better and natural without waxes and polishes. The artist’s original intent should therefore not be compromised by the use of chemicals. The best way for sculptures to survive for long periods is for the rights owner and the artist to work together to ensure that correct methods are applied for the maintenance of the art pieces. The artists themselves should learn more about the properties of the raw materials they use, so that they work together with whoever they transfer ownership to.

Zimbabwe’s arts industry is still lagging behind in applying and understanding restoration techniques and methods to artworks.
Prevention is better than cure.