By THE INDEPENDENT UG
ART | DOMINIC MUWANGUZI | A solo sculpture show by Ronex marks a significant milestone in the artist’s illustrious career on the local art scene. Renowned for his singular identity as a sculptor of both functional and conceptual installations, Ronex has been recognized through invitations to global art workshops, numerous art commissions locally and internationally, solidifying his position as one of the premier sculptors of his time. The artist often highlights his unique technique, “Sculpri,” a fusion of Sculpture and Printmaking, which forms the basis for much of his studio innovation and experimentation. The solo showcase, titled “Formation,” aligns with Ronex’s penchant for exploring different media, techniques, and dimensions to spark profound conversations within his artistic practice.
At first glance, the sculptures may seem enigmatic and suspenseful to a casual observer, a characteristic Ronex intentionally maintains to captivate his audience. The artist, who claims to work in the sub-conscious, guides viewers into his art. To achieve this visual intrigue, Ronex employs non-conventional materials such as aluminum, binding wire, painted sponge, hardened paper, and body fillers sourced from his immediate surroundings, including motor garages and garbage fills. These materials, with their leftover identities, introduce an element of randomness, allowing the artist to delve into experimental processes that produce artworks appearing playful yet striking to an expert’s eye.
Ronex’s fascination with the human anatomy is evident in “Formation,” featuring several women figurines depicted in various mediums to showcase the beauty of the human physique. His meticulous exploration of the human body using unconventional media highlights his studio proficiency and technical competence. By focusing on the human form, Ronex initiates conversations on social well-being, touching on themes such as human relationships, love, dreams, fantasies, feminism, and gender identity. In this role as a social commentator, the artist gives his art a voice to comment on the occurrences in his immediate community.
The sculpture portraits displayed prominently on the walls predominantly depict nubile women and children, offering a glimpse into Ronex’s observations of his Makerere Kikoni community on the outskirts of Kampala. The neighborhood, dominated by hostels for Makerere University students and surrounded by slums, serves as inspiration for the artist’s portrayal of daily life. Ronex captures the essence of his subjects with whimsical undertones, aiming to draw the viewer’s attention. While addressing social commentary and personal experiences, the artist delicately weaves the theme of recycling into his art, frequently employing metal debris and non-degradable materials to address environmental concerns, elevating the international relevance and visibility of his work.
With this exhibition, Ronex solidifies his place among the luminaries of his generation. His technical prowess, purposeful studio production, and delicate balance between formal art education and natural talent position him to leave an indelible mark on the Ugandan contemporary art scene. As we marvel at Ronex’s mastery in sculptural work, anticipation builds for what the artist will present in the coming years, promising to excite, engage, and stimulate profound conversations for audiences near and far.
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