Chiedza Pasipanodya is a sculptor and writer whose practice investigates material culture, diasporic memory, and the transformative potential of ritual and form. Born in Harare, Zimbabwe, and currently in Toronto, Canada, Pasipanodya works through a post-minimalist lens, drawing from Afro-diasporic and speculative frameworks to explore how objects become vessels for lived histories, perceptual shifts, and cultural transmission. Their early life, shaped by migration and alternative spiritual traditions, cultivated a deep interest in the metaphysical and the unseen, informing a material practice attentive to the ways that time, matter, and meaning interrelate.
Pasipanodya is a participant in the 2026 Toronto Biennial of Art. Their work has been exhibited at institutions including Cranbrook Art Museum (USA), Catinca Tabacaru Gallery (Romania), the Gardiner Museum, Artspeak Gallery, Art Gallery of Burlington, BAND Gallery, and Zalucky Contemporary (Canada). They have participated in international residencies including Watershed Center for Ceramic Arts (USA), Dzimbanhete Arts and Cultural Interactions (Zimbabwe), and the Global Experience Project: Maria Thereza Alves (Italy). Pasipanodya holds an MFA in Sculpture from Cranbrook Academy of Art.
Writing
Pasipanodya is the author of grace: Notes on Survival (Sorplusi Press, 2014) and recently released, The Sweet Spot (Hush Harbour Press, 2025), their sophomore collection of poetry and photographs. This title unfolds a wave of actions, observations, dreams, premonitions, and one-line capsules. Each measure of verse acts as a sensual invitation to find one's center after swinging from one side of the pendulum to the other. They have been published in Canadian Art, Macleans, Akimbo, Westend Phoenix and Art Momentum, and contributed to Water, Kinship, Belief: Toronto Biennial of Art 2019-2022 (Art Metropole/ Toronto Biennial of Art, 2022) and Impact: Women and Concussion (University of Alberta Press, 2021).
Curatorial
Shaped by migration and alternative spiritual traditions, Pasipanodya has cultivated a deep interest in the metaphysical and the unseen, informing a material practice attentive to the ways that time, matter, and meaning interrelate. This sensibility is carried into their curatorial work, which centers the poetic and philosophical dimensions of art-making. Curatorial projects include OHAYO Radio!, Ino Cho Paper Museum, Japan (2024) and We might listen for the shimmerings, Toronto Biennial of Art, Canada (2022). Pasipanodya received the Toronto Biennial of Art Curatorial Fellowship (2022) and is a GOG Award recipient for the curation and exhibition design of Tim Whiten: Elemental: Earthen (2023), an exhibition that reflects resonant thematic concerns around embodiment, transformation, and the elemental.