Zimbabwe has the distinction of having the largest community of stone sculptors in the world today (on a per capita basis). Thousands of artists labor by hand creating an incredible variety of sculptures from the vast array of stone present in much of Zimbabwe. While greatly de-centralized, Shona artists are united in their love of sculpture and their medium. They tend to work in private studios or in small groups and collectives. With no formal school for stone sculpture, many artists apprentice or assist more established artists.

The communal sculpting experience is representative of their tight social fabric and extended families. The success of any individual is neither the credit of just one artist nor is the reward of that success to be kept alone. Each artists represents countless others in the extended family who assist them and benefit from their success.

The earliest known examples of Shona stone sculpture date back 1000 years (6ft. soapstone birds found at the Great Zimbabwe ruins near Masvingo). Reborn in the 1950's and 60's as a contemporary art form by a few creative artists and their western influenced sponsors and supporters, the Shona sculpture movement has blossomed into one of the most productive, inventive, and successful art movements anywhere in the world.

Within the overall Shona Sculpture community, there are many strata of artists, in terms of visibility, success, and respect. For organizational purposes, I have grouped the artists into three categories:*

*Categorization, although somewhat arbitrary and debatable, is based largely upon an artists visibility and stature amongst collectors and gallery owners.