Suburban
GALERY Delta has closed following the death of its founders Derek Huggins and Helen Lieros who succumbed to COVID-19 related illnesses in July last year.
Ivan Zhakata Suburban Reporter
Both Derek and Helen were co-founders of Gallery Delta and instrumental within the artistic community since the 1970s.
Their contribution to the arts was immeasurable and an inspiration to a great many people and the duo was a central pillar within Zimbabwean visual arts for more than five decades.
In a letter written to patrons, artists and friends of Gallery Delta, the Foundation for the Arts and Humanities, chairperson of the board of trustees Gregory Shaw said he was saddened to announce the untimely closure of the gallery.
“I am saddened to write that Gallery Delta at 110 Livingstone Avenue has now closed, having promoted and supported the visual arts and humanities at that premises for 28 years,” he said.
“As previously written, we are indebted to our founders, Derek Huggins and Helen Lieros, and to Paul Paul and Colette Wyles for their support during the past three decades.
“We also acknowledge the support of the patrons, friends of the Gallery Delta and the artists who have been a part of a history that spans almost 50 years and has played out within a rich period of the visual arts of Zimbabwe.
“Whilst the Gallery Delta at 110 Livingstone Avenue has closed, the Foundation for the Arts and Humanities under the Gallery Delta name remains, though it is inactive at present and for the foreseeable future. I have been honoured to be a part of this institution and am grateful to the board of trustees who have served the Gallery Delta Foundation since its creation and thank them for their dedication over the past years.”
Shaw said they looked forward to seeing what may emerge within the arena of the arts as the future unfolds.
Gallery Delta was established at Strachan’s Building along the then Manica Road, Salisbury (now Robert Mugabe Road, Harare) in 1975 at a time of international sanctions against the colonial Rhodesian regime, and at the height of the liberation struggle for Zimbabwe’s independence.
The intention and policy of its proprietors from the outset was to encourage painting, graphics, mixed media, sculpture and ceramics as a contra to the predominance of Shona sculpture.
In retrospect this was an ambitious undertaking that did not foresee a life work of 44 years to contribute to the development of a Zimbabwean contemporary art and painting movement that achieved international standards.
The galley took satisfaction in witnessing the success, at home and abroad of many artists who emerged from their fold.
The work of nurturing, encouraging, supporting and promotion of young painters continued into the new millennium to the time of the closure of the gallery.
