UNITED KINGDOM-BASED Zimbabwean visual artist Karen Mandiwanzira (27) has vast knowledge of Zimbabwean and European culture and her art speaks to that. Being a female African visual artist in a male and white-dominated industry has not weighed her down, but kept her strong to use art to tell her story. Winstone Antonio After giving up a career in the health sector to focus on art, Mandiwanzira says she has no regrets. As part of celebrating women in arts during the women’s month, NewsDay Life & Style (ND) senior reporter Winstone Antonio caught up with Mandiwanzira (KM), who is currently back home, to find out more about her journey in the arts industry. ND: Briefly take us through your journey as a Zimbabwean and African artist in the United Kingdom. KM: There are three different battles you face being a black African female visual artist in the diaspora and being black and African in a predominantly white country and educational institution. Being a female in a male-dominated industry and an artist in a conservative environment where the art industry is still in the process of fighting the narrative of the arts not being perceived significant enough by academics accompanied by inadequate funding. This opens up possibilities for misconceptions, micro aggression, discrimination and inequality within the art industry. My experience as a visual artist has been a bitter sweet one. Initially, my career path was in the health and social care industry until I drastically changed to arts. As a result, this made me feel very unsettled due to a conservative upbringing following the pre-judgments of pursuing a career in art. However, despite all the challenges I faced, I was prepared to take the risk because I believed in my talent. ND: How did all this begin and what drives you? KM: This began with my migration to the UK. What fuels my passion are the environments I have lived in and my upbringing in two different worlds. The contrast of the perspective I have on social matters inspires me to reflect that through the choice of my artistic output in this instance, painting and charcoal drawing. ND: How has it been appreciated in Europe and how did COVID-19 affect your work? KM: My input through studying and pursuing an art career has benefited Europe, more specifically my educational institution in regards to cultural exchange. The contribution of my perspective is an addition to the knowledge obtained by those who do not come from where I have come from. I graduated and completed my Bachelors of Arts degree in the middle of a pandemic. There was so much uncertainty during my last year of the course in 2020. Fine arts is a practically demanding course which enables you to visually create in social spaces which later on in March 2020 was re-adjusted to meet social distancing measures. The experience affected me in various ways. The transition from practicality to virtuality was a turning point for me. I adapted very well and utilised the spare time I was given to plan and complete future projects. However, it was disappointing