||Hungry is a work that derives much of its power from the way that the twoparts have been assembled–the topmost head just slightly out of alignmentwith the solid pillar of the torso. When Muzondo joins two heavy serpentines inthis way he deliberately raises the question of the monolithic nature ofserpentine. The single figure made from two serpentines is more fragile, open todismemberment, than the solid form carved from a single rock. Heavy andpowerful as this work is, the recognition that it is joined and notintrinsically whole introduces a factor of fragility and instability. Linkedto the title “Hungry” it speaks of a lack, a weakness, while in no wayappearing weak to the eye. At the same time Muzondo questions and stretchesassumptions about twentieth century Zimbabwean Sculpture in which serpentine andits monumentality is taken for granted.