Self-survival skills were a fundamental tool for every young man of Edias' age. This cultural practice served as essential self-training for young Shona people, preparing them for their journey through life. These skills proved invaluable for Edias when he later faced the real test of life—living alone in the city, far from the care and love of his parents. In the city, Edias quickly adapted to various types of work assigned by those he stayed with. While other kids his age, born and raised in town, struggled to cope with the hard work, Edias found it easy. He would often remark that it was the simplest of tasks for him. While attending Chaminuka Primary School in Chitungwiza, Harare, Edias would visit his uncle, Moses Masaya, a renowned first-generation stone sculptor. Initially, Edias knew nothing about stone art, and the idea never crossed his mind. However, as he continued to visit his uncle, his curiosity grew. He began to notice the steady stream of foreign visitors from overseas who came to purchase his uncle's sculptures, sparking his interest even more. Gradually, Edias grew closer to his uncle, and Moses invited him to help during weekends and spare time, assisting in washing the finished stones. Strong and eager to learn, Edias enjoyed the work, which also provided him with extra pocket money for school. After completing his basic education (Ordinary Level) at Zengeza Number 3 High in Chitungwiza, his father helped him secure a job in the construction industry as an assistant surveyor. However, having become accustomed to city life, Edias found it challenging to adjust to the rigours of construction work, which required constant physical labour.

My work explores the intersection of memory, identity, and space, rooted in my experiences as a contemporary African artist navigating a rapidly changing world. I draw from personal histories and collective narratives, using mixed media, including found objects, textiles, and photography, to construct visual stories that interrogate the past while imagining future possibilities. At the core of my practice is the desire to challenge fixed ideas of self and community. I believe identity is fluid, shaped by time, environment, and the shifting nature of memory. My art often reflects this tension, blending abstract and figurative elements to express the complexities of belonging and displacement. Through layering textures, materials, and symbols, I create pieces that feel both familiar and enigmatic—inviting viewers to question their own sense of place in the world. The process of making is deeply spiritual for me. I view art as a form of healing and transformation, where the act of creating becomes a journey into the subconscious. By experimenting with form, colour, and materiality, I aim to evoke emotion and spark dialogue about the contemporary African experience in a global context.

As an artist born in 1986 and raised in Lesotho, I draw upon the rich tapestry of my cultural heritage and personal experiences to create my art. My creative journey began with the guidance and support of Roman Catholic sisters Anna Maria and Caroline, who recognized my potential and facilitated my education at St. Mary Masarelo Vocational Training Centre. It was there that I honed my skills in sewing, embarking on a path of skill development that would shape my artistic practice. My favorite mediums, clay and fabric, allow me to translate my joy and emotions into tangible forms. Whether sculpting clay figures or weaving patterns into fabric, I find solace and inspiration in the tactile nature of these materials. Ultimately, my goal is to create work that resonates with others, bringing joy and perhaps reminding them to smile.