Art has long been a powerful resistance, preservation, and transformation force. For Ugandan contemporary artist and ‘artivist’ Arinitwe Peter, it is all of that and more—a vessel for storytelling, activism, and cultural revival. His work doesn’t just decorate walls; it sparks conversations, challenges injustices, and calls communities to action.
Growing up in one of Kampala’s largest slums, Arinitwe has seen the consequences of environmental destruction, social inequality, and cultural erosion firsthand. Yet, rather than despair, he channels these experiences into breathtaking, thought-provoking art that reminds us of our shared responsibility to protect our people, our land, and our heritage.
This February, as part of SwagHer Magazine’s Strokes of Legacy: Honoring Black Artists This Black History Month campaign, we spotlight Black visual artists who are using their talents to shape culture and inspire future generations. Arinitwe Peter is a perfect example of an artist whose work bridges the past and present, urging us to reclaim our roots while addressing pressing global challenges.
In this exclusive interview, Arinitwe speaks on his work’s inspirations, commitment to reclaiming African traditions, and advice to young Black artists looking to make their mark in the world. His journey is a testament to the power of art—not just as a form of expression but as a tool for change.
Let’s dive into his story.
Fancy: What inspired you to become a visual artist, and what role does your culture play in your practice
Arinitwe: I became a visual artist who used art to communicate issues that I believe are detrimental to the progress of African people, most especially marginalized black communities, women, and children.
My culture is my identity, and it influences every one of my works. I am from the “abakiga” tribe in the mountains of Uganda. We are descendants of my ancestors who fled genocide from neighboring Rwanda. As abakiga, we live life through a perpetual dance (bakiga banyakitara obamu ri kigezi): we have dances for death, for life, for conflicts, for love, we dance to forgive and to forget, and to foster human resilience. It’s a beautiful way to let go of what does not serve us and connects us to Mother Nature and humanity. My work aims to inspire disengaged and disempowered youth in Africa to reconnect to their roots, their values, and planet Earth at a point where globalization threatens to erode our cultures and connections to the planet.
I work with natural media such as the Ugandan bark cloth, an Indigenous fiber material that we extract from the omutubaa trees alongside sisal reeds, as well as discarded plastic and waste materials that are hazardous to the environment.
Fancy: Who are some of your biggest influences, both within and outside of the art world?
Arinitwe: I am inspired by legendary African Queens like Muhumunza, the mother queen who fought the imposter King Yuhi V of Rwanda and founded the Nyambinji dynasty war of resistance to patriarchy and colonialism.
My most significant personal influence is my beloved late grandmother, who joined our ancestors in August 2024. She was a pinnacle of the community, raising not only her family but an entire community.
And, of course, I give credit and honor to all human rights artivists and activists.
Fancy: What message or feeling do you hope to convey to your audience through your artwork?
Arinitwe: My art highlights two main key themes:
Human-Nature, where I remind humans to be kind to Mother Nature because it can do without us, but we can’t do with her.
Celebrating African Indigenous cultures and values
A person who doesn’t know who they are is like a tree without roots.
My art is a wake-up call to reconnect people to their origins, let go of what no longer serves us from ‘borrowed cultures’, and revisit the stories and positive values of the past, where we celebrated through dance and always respected our animals, lands, and waterways.
“This world is not mine BUT rather by my ancestors.”
Fancy: What is your favorite piece that you’ve created, and why does it stand out to you?
Arinitwe: The Lost African Parliament Series (2022, acrylic on canvas) has always been close to my heart. They take me back to who I am, and my heart dances with joy when my mind goes back home to Kabale through these paintings.
However, my favorite piece has to be the “Free Fall” installation (2024, bark cloth and recycled mannequin installation). It’s a piece I created to talk to those who are victims of trauma and are attacked by emotional scars, compelling them to lean back to their cultures and find peace at home.
Fancy: What advice would you give young Black artists looking to break into the art world?
Arinitwe: Ensure your art stands up for people’s rights and broken systems; otherwise, it’s just an advertising poster to entertain patriarchal systems, not art.
Fancy: Where can readers connect with you and purchase your art?
Arinitwe: Instagram: @Arinitwepita.
