Acclaimed artist Wilson Ngoni recently unveiled his new exhibition titled ‘I’ at the National Museum and Art Gallery in Gaborone, offering art lovers a rare and intimate look into what he describes as “self-reflections” shaped by life journeys, philosophy and personal growth.
“When art has purpose, it creates grace. Art is like love, if it is not purposeful, it becomes something else.” Ngoni shared.
The exhibition, which opened last Thursday, marks a significant shift in Ngoni’s artistic presentation. While widely known for his realistic depictions of everyday life particularly scenes grounded in Botswana’s social fabric Ngoni is now foregrounding a more abstract and surreal dimension of his work.
“I’m painting self-reflections, where I’m at in life, my feelings, and my philosophy,” Ngoni said in an interview. “Even though many people know me for realistic works, I have also been painting abstracts for a long time.”
Central to Ngoni’s work is a philosophy rooted in shared humanity. He believes every individual has a responsibility to contribute to the wellness of others.
“We share this world. We share spaces. We are technically connected somehow,” he said. “But we choose to be strangers. We put boundaries between ourselves through religion, politics, class and even our phones. I wish to return to the general place of humanity.”
For Ngoni, art is not simply aesthetic it is purposeful. His objective, he explained, is to orient his philosophy through his creative practice and to see his ideas enacted within society.
“Success is to see my suggestions or my wishes put to play,” he said, adding that art should have intent. His drive, with the themes he has partaken in are to help people find peace in themselves, to break down stigma and grow communities to a better place.
Ultimately his personal view of success was to share his own message and hope the audience can take a part of the universal message to find a space of reflection.
Though realism has defined much of his public identity as an artist, Ngoni says abstraction has always been part of his vocabulary. He describes his abstract works as “impossible whispers” soft, almost inaudible expressions that require patience and openness from the viewer.
“They are like someone whispering and you’re trying to read their lips,” he said. “If you are calm and patient enough, you will catch it.”
Ngoni explained that he initially relied on realism to communicate with audiences who may not yet have been ready to engage with his more conceptual messages.
“People who are not ready to understand my philosophy I had to teach them through realistic works,” he said. “But both realism and abstraction carry my signature. They amplify the same philosophy.”
The artist now feels compelled to accompany his abstract paintings with written explanations and has expressed interest in producing a book dedicated solely to interpreting these works.
“I feel the need to write a book that explains my abstract paintings,” he said. “To help viewers have a glimpse into what I am saying.”
Ngoni acknowledged that Botswana’s landscapes and communities have shaped his worldview and artistic direction. His earlier works often captured ordinary moments in people’s lives, grounding his philosophy in relatable imagery.
Yet even as his style evolves, he insists his core principles remain intact.
“The change is growth,” he said. “My desire to contribute to humanity is growing. The philosophy is the same it is just expanding.”
Ngoni hopes visitors leave the exhibition with more than admiration for technique. He wants them to experience joy, reflection and renewal.
“I want my audience to enjoy and be joyful,” he said. “While they are looking at my paintings, I want their minds to be released from the hinges of worry.”
He also hopes fellow artists will draw inspiration from his emphasis on intentional creation.
“Art needs to be purposeful,” he stressed. Above all, Ngoni encourages viewers to embrace authenticity.
“I want people to belong to themselves,” he said. “I am being me genuinely and sincerely. I wish for my audience to copy that.” The exhibition is currently open to the public at the National Museum and Art Gallery.
