Wenceslous was one of the younger up and coming generations of artists. Wenceslous firmly established a name for himself amongst the Zimbabwean sculptors.

He was born in 1964 on the outskirts of Harare and as one of a large family he receive his formal education at Murewa mission, later working in the electrical and surveillance industries.

Wenceslous was introduced to sculpture by Tapfuma Gutsa (who has acted as a catalyst for many young artists) and left his more conventional employment to commit himself to sculpture on a full time basis. He had been sculpting in his own right for seven years and the recurring themes and images of this sculpture center on the human figure (most recently the torso and head) as well as the natural world around him (animals and birds such as the heron and eagle). He acknowledged having been influenced in the past by the work of Tapfuma Gutsa and Arthur Fata. Both are known for their imaginative use of materials and although Wenceslous remained loyal to stone, he made cautious inroads into the use of other media. His work is quite decorative and hewas often concerned with great detail for example adding to his human figures traditional beadwork, also carved in stone, around the neck and waist according to tribal patterns.

Some of the works dearest to himwere his images of Zimbabwean birds. These are not so much taken from real life, but come from powerful memories of an interest when a young boy. He spent much time at school studying indigenous birds and has lasting memories of particular books on the subject. The images and evocative illustrations of these books have remained with him and feature in much of his imaginative work today. When speaking about his work he said, I am proud of my work. It has got volume. I carve according to the feeling I have before I start. I have a vision maybe of a bird or an animal and I look for a stone that is suitable for this image.

Wenceslous worked in serpentine, primarily the opal, green, golden and black varieties, but his favourite is the green serpentine. He also combined materials, using wood and wire with the stone. He worked on site ata sculpture park for four years andwas able to concentrate on these works depicting the human figure and bird forms. He strongly believed in the relevance of Shona customs and traditions for todays society and felt that the future for the younger generation lies in the combination of these beliefs with aspects of modern Western ways. He felt confident that the youth of Zimbabwe will find their own way of taking from the two cultures to forge a vital and contemporary identity. His sculpture testifies to these concerns.