Since gaining independence in 1966, Botswana has been recognised as one of the most consistent examples of democratic stability in Southern Africa. The absence of prolonged armed conflicts in the postcolonial period has allowed the country to focus on nation-building, the management of its vast mineral resources, and the consolidation of democratic institutions. This unique context shapes an artistic landscape that, though less visible on the global scene than that of other African nations, reveals a deep engagement with historical and social issues specific to the region.
Art in Botswana is not limited to celebrating political stability. On the contrary, it engages in a critical reflection on the tensions between tradition and modernity, colonial legacies and visions of the future. The relatively open political environment offers artists freedom of expression without censorship. This allows artistic practice to focus on the analysis of the structures that underpin democracy and national identity. However, structural challenges persist, namely the fragility of cultural infrastructure and the scarcity of funding for the visual arts.
One of the most prominent artists from Botswana is Meleko Mokgosi (1980), whose work redefines history painting in the 21st century. His monumental series, such as Democratic Intuition, articulates complex visual narratives that interrogate democracy, postcolonialism, and the construction of African identity. Born in Mochudi, Pamela Phatsimo Sunstrum (1980) is another important visual artist from the region who works across painting, drawing, animation and installation. Her works evoke wide-ranging mythologies and the alter ego, Asme, in an exploration of place, belonging and the fluid nature of identity in a post-colonial context.
Similarly, and from a younger generation, Kim Karabo Makin (1995) has developed a multidisciplinary practice centred on the notion of hybrid identity. Through painting, installation, and performance, Makin investigates the “mixed-race” condition and the ways in which the body and memory engage with contemporary architectural and social space. Thebe Phetogo (1993), born in Serowe, is also an important young artist from Botswana. Phetogo explores his Motswana identity, collective memory and the representation of the black body in striking paintings that draw on digital media technologies and storytelling tools. Phetogo’s recognitions include being a 2019 finalist for the Cassirer Welz Award. Strauss & Co is a proud sponsor of the Cassirer Welz prize, which nurtures the careers of emerging artists from Sub-Saharan Africa through a three-month residency at the Bag Factory.
The Botswana arts scene is supported by key institutions such as the Thapong Visual Arts Centre, which plays a crucial role in the training, professional development, and international exposure of local artists. Also worth noting is The Space Botswana, which has established a significant presence in the regional scene, bringing Batswana artists to international platforms such as the RMB Latitudes Art Fair.
There is also a vibrant and long history of craft development in Botswana. Many women in small towns and rural villages carry the cultural traditions of their tribes and make an income through weaving baskets and trays. Strauss & Co has presented a notable offering of vintage baskets from Southern Africa in our Woven Legacies auctions. The 2025 edition of this fibre-focused sale included works from the collection of social scientist Dr Elizabeth Terry, such as Yei baskets crafted by Batswana weavers Orapeleng Mphenyemang, Kelefi Zimona and Dipethego Mamusi.
Strauss & Co welcomes consignments of rare, secondary market works from the 1960s to 1990s, as well as contemporary pieces by artists from Botswana. Collectors interested in consigning works from Botswana and beyond are encouraged to contact us.
Top 10 Botswanan Artists
