Thero Makepe's photographic work serves as a powerful lens through which to examine the intertwined histories and current realities of Botswana and South Africa. His series, 'It's Not Going to Get Better,' moves beyond traditional documentary by incorporating evocative storytelling and personal narratives, creating a nuanced portrayal of a region grappling with political shifts and economic uncertainties. Makepe’s artistic approach fosters a deeper understanding of the societal pressures and hopes that define these nations.
His exploration extends beyond the immediate visual, drawing on a rich personal and historical tapestry that connects his family's legacy of resistance and artistic expression with the broader political climate. By blending the personal with the political, Makepe not only documents but also interprets the emotional and psychological impact of historical events and contemporary challenges on individuals and communities, making his work resonate with a profound sense of truth and lived experience.
The Evolving Landscape of Southern African Politics and Society
Thero Makepe’s compelling photographic series, 'It’s Not Going to Get Better,' completed largely in 2024, captures the pervasive sentiment of unfulfilled political promises and societal stagnation in Southern African nations, particularly Botswana. This body of work emerged during a significant period when various African countries were undergoing pivotal elections, reflecting a broader regional narrative of democratic evolution and its inherent disappointments. Makepe's art subtly yet powerfully highlights the recurring theme of disillusionment that arises when long-established political leadership fails to deliver on its commitments, a common thread in the history of the Frontline States which once collectively resisted apartheid. His images present protagonists who often appear lost in thought, showing subtle signs of distress or being caught in moments of intense activity, yet disconnected from a larger understanding of their circumstances. This intentional portrayal of dysfunction, though not overwhelming, is balanced by a striking, almost defiant denial of obvious evidence within the visual narrative, lending a unique authenticity to his fictive explorations of truth.
The series poignantly critiques the democratic trajectory in countries like Botswana, Makepe’s homeland, where the Botswana Democratic Party maintained power for an unprecedented fifty-eight years until a historic shift in November 2024. This change saw a three-party coalition emerge victorious, led by Duma Boko, signaling a significant turning point after decades of economic and political stability, often underpinned by diamond wealth. Makepe’s work resonates with the tumultuous period of Seretse Khama Ian Khama’s presidency and its aftermath, reflecting on how this legacy fragmented. His photographs delve into the elusive nature of social mobility and the palpable anxiety among his generation, viewing it as a consequence of intergenerational impacts. Inspired by films that depict similar societal and political conservatisms, military oversight, and a deep-seated introspection, Makepe’s art explores the multifaceted burdens of historical memory and contemporary issues, offering viewers a profound connection to the ongoing struggles and aspirations of the region.
Thero Makepe's Artistic Journey and Influences
Born in 1996, Thero Makepe cultivated his distinct photographic style at the Michaelis School of Fine Art in Cape Town, where he began to merge staged portraiture with reenactments, often drawing from fables, contemporary events, and his own family's narrative. His artistic methodology is characterized by a long-form approach, offering rich, multifaceted entry points into the complex web of political, professional, and personal relationships that animate his work. This method effectively blurs the geographical and cultural lines between South Africa and Botswana, two nations with a deeply shared past. Makepe’s familial background is notably steeped in both artistic and political activism; his maternal grandfather, Hippolytus Mothopeng, was a jazz musician who moved to Botswana from apartheid South Africa, while his great-uncle, Zephania “Zeph” Mothopeng, was a prominent figure in the Pan Africanist Congress of Azania, known as “the Lion of Azania” for his unwavering leadership. This profound lineage of music and resistance significantly informs Makepe’s artistic exploration, positioning his work within a continuum of struggle and expression.
Makepe’s creative process involves intricate dioramas, immersive installations, and experimental lighting, which not only pay homage to the rich history of photography but also offer incisive commentary on current issues. Recurring motifs such as melancholic afternoons and the transitional light of twilight infuse his work with a sense of introspection rather than overt illumination, inviting viewers into deeper contemplation. His series, 'It's Not Going to Get Better,' marks a pivotal evolution in his style, moving towards a more concise and focused narrative compared to the expansive, speculative nature of earlier projects like 'Music from My Good Eye' and 'We Didn't Choose to Be Born Here.' This tighter focus, presented through midsize prints, allows him to delve into intimate themes drawn from the real lives and situations of people he knows. Influenced by a diverse range of artists, from Alex Webb's detailed street photography to the experimental work of his contemporaries and the innovative theatricality of Lebohang Kganye, Makepe is now exploring more surrealistic and experimental avenues. This artistic shift is not merely an expansion of his creative boundaries but also a deliberate act of self-preservation, reflecting his deep engagement with the shared historical weight borne by Botswana and South Africa, and his commitment to processing these complex narratives through his art.