Short List 2025
The African
Women
in Art Award
before
15/11
Nominations
The African Women in Art Award is a visual art competition for women designed to showcase the immense talent of women visual artists from the Sub-Saharan Africa.
Drawing
Painting
Digital Art
Mixed Visual Art
Sculpture
Classic works created with pencil, charcoal, ink, or similar materials.
Works created with oil, watercolor, acrylic, or other traditional painting techniques.
Works created using digital technologies such as graphic tablets, drawing software, etc.
Works combining various techniques and materials, such as collages, installations, and other multimedia pieces.
An artistic form in which hard or plastic materials are worked into three-dimensional art objects.
Click on the nomination to quickly navigate to the winners and finalists (if any).

Category: Painting

The winner of the nomination Joyce Joshua Effiong.

Nigeria

The path we share

The Path We Share' reflects the deeper narrative captured in this scene. My brushwork and composition bring out not just the physical act of walking down a rural path, but a shared story of labor, connection, and purpose. Each figure, while distinct in movement and appearance, is bound by the same journey—carrying water, an essential resource for life, much like the community bonds that sustain us.

The light, texture, and positioning of the figures are intentional. The dominant figure in the foreground, with her patterned skirt, leads the viewer’s eye but remains connected to the others through the rhythm of repeated gestures, colours, and the winding path. That path, stretching forward and back, is more than just a road—it’s a shared experience, a symbol of collective effort and unity.

By titling it "The Path We Share," I invite the viewer to see beyond the individual, to focus on the collective journey these figures represent. It is a tribute to community, resilience, and the unseen but deeply felt connections that guide us through life’s shared burdens and triumphs.

Ufan (friends)

''Friends" captures the raw essence of childhood joy, trust, and companionship. The painting depicts two boys immersed in playful interaction, one carrying the other on his back as they wade through the water. Their radiant expressions and laughter highlight the uninhibited happiness found in simple, everyday moments.

The setting, a sunlit stream, reinforces the natural connection between the subjects and their environment. The golden reflections in the water suggest warmth, nostalgia, and the carefree nature of youth. The red slippers they hold add a subtle yet striking contrast, symbolizing both spontaneity and the freedom of childhood adventures.

This piece is a celebration of camaraderie and shared experiences. The act of one child carrying the other represents not just playfulness but also the deeper themes of support and togetherness. It speaks to the universal language of friendship, where joy is amplified when experienced together, and burdens feel lighter when shared.
Finalist

Category: Drawing

The winner of the nomination Ngwa Stephanie Ngwe

Cameroon

Chains of Time

“Chains of Time” is a powerful pencil portrait that captures the emotional connection between an elderly woman and a young boy. Through detailed realism and expressive shading, the artwork portrays generational pain and resilience. The woman’s wrinkled face and heavy chains symbolize years of struggle and oppression, while her tender gesture toward the crying boy reflects compassion, endurance, and love that transcends suffering. This piece speaks to the strength of the human spirit and the unbroken bond shared between generations.

Through Her Eyes

Through Her Eyes portrays the silent endurance of an African mother whose strength lies not in spoken words but in the quiet depth of her gaze. Her pale expression reflects a life of hardship and resilience, yet her eyes shine with hope and unyielding love. The traditional head tie crowns her with grace and pride, while her baby rests peacefully against her chest — the reason she keeps going despite life’s struggles. Every line and shade in this portrait tells a story of sacrifice, dignity, and the unbreakable bond between mother and child. It is a tribute to every woman who carries the weight of the world in silence but continues to love fiercely, live bravely, and endure with grace.
Finalist

Category: Digital Art

The winner of the nomination Vetutekule Shikongo

Namibia

SIN WAS JUST A WORD

Episode 1: “What if love was holy and war was obscene?”

A white woman and a black woman lie side by side, wrapped in Oshiwambo cloth. Their fingers touch softly while smoke rises from a clay pot beside them. The air feels calm but heavy, filled with unspoken words. It is the silence that comes from rules they never agreed to follow.

This piece explores the tenderness of forbidden love and questions why women must keep defending love that already feels pure. The clay pot symbolises cleansing, while the smoke represents what society calls sin leaving the body. It is about intimacy that exists without apology, where two souls meet beyond skin.
Theme: Desire and freedom

THE BODY KNOWS THE TRUTH

Episode 2: THE BODY KNOWS THE TRUTH
“Maybe we should love somebody. Maybe we could care a little more.”

A young Ovambo woman stands in front of a mirror wearing traditional shells and beads over her skin. Her reflection shows an older version of herself, calm, wise, and unshaken. On the wall behind her are words written: holy, dirty, mother, sin. She looks at them and smiles, realising she does not belong to those labels.

This artwork speaks about the quiet revolution of self-acceptance. It is about the moment a woman realises her body is not a battlefield but a story of survival. The mirror becomes her witness, and represents self-love finally breaking through shame.
Theme: Body and confidence

MILK AND CIGARETTES

Episode 3: MILK AND CIGARETTES

“We can heal each other and fill each other. We can break these walls between each other.”

Two Ovambo women sit at a wooden table, one pouring Oshikundu (a traditional oshiwambo drink) while the other lights a cigarette. Between them lies a small child’s shoe, forgotten but full of memory. They speak about love, loss, and the parts of themselves they had to hide. There is no sadness in their faces, only peace that comes from truth.

This piece celebrates women who dare to be soft even after being told to be strong. It talks about motherhood, pleasure, and the beauty of imperfection. The shoe symbolises life that keeps moving forward, while the smoke shows stories that drift and fade but never disappear.
Theme: Sensuality and truth

THE FIRE UNDER THE CLOTH

Episode 4: THE FIRE UNDER THE CLOTH
“Maybe we can take the time to understand another woman’s cry.”

A woman dances in her Oshiwambo attire, her chest glowing with light that looks like fire. Around her, the elders are frozen in black and white, but she burns in full colour. Her movement is wild yet graceful, as if she is calling her ancestors to watch her become herself.

This artwork is about rediscovery. It speaks about a woman who no longer performs for approval but dances for healing. The fire represents her spirit that was never lost, only hidden. The contrast between colour and grayscale shows the clash between old expectations and new freedom.
Theme: Power and rebirth
Finalist

Category: Mixed VISUAL media

The winner of the nomination Ribka Sisay and Crista Uwase

Ethiopia / Rwanda

Ribka Sisay
Moot Mebrat
"I can see the light, like stars In a clear night sky, but I can’ t reach it or claim it as my own. It doesn’t illuminate my world; instead, it offers a fleeting hope that fades with each passing day."

It’s a weird thing, Migration.
Once As I was walking down the street with my leather bag on my shoulder and my phone on my hand, I saw women with their hair breaded probably for too long and with their dirt and dust covered Shiffon dresses guessing they are from the war torn area forced to leave their homes in order to keep their’s and their children’s life going.
I didn’t want to take any photos that day, I was just inhaling the pain I see in their faces while they beg for food.

I kept thinking how lonely they could be at that moment.
Kept thinking how heartbroken they could be while they send their kids to beg money and see how they are been treated.
I kept thinking how sad they could be about their significant others not being around , probably facing a physical injury or even lost their lives to save their family.
Kept thinking how they are facing all my fears together and somehow they have a flicker of hope inside their eyes.
Kept thinking how weak I am as a woman, as an artist to bring no change in this, to have no power, to have no voice.
Kept thinking how each street is filled with heart breaks and despair.
Yet I am no one to contribute into the solution.
Kept thinking how I could be in the same spot as a Person, as an Ethiopian, as an African Woman.

So as days go by I kept trying to pour out these emotions out of my heart through my self portraits layered with the landscapes I saw in fear because of them being so empty.
I started breaking them down , cutting piece by piece and weaving together in hope of creating a new life, in desire of fixing, touching each cut out as if am moving each heart back to its home.
But then again it hurts so much to see my hands moving and doing nothing for those women, for my sisters at pain.
Ribka Sisay
Fear Towers
Artbecame mylifelineduring a time when depression silenced my voice and severed my connection to writing once my greatest passion. I stopped
believing my words could be heard, or that they even mattered.
In that silence, I turned to a new language: images, textures, and thread. My process begins with self-portrait photography capturing fragments of identity and vulnerability. I cut these prints apart, then weave and sew them together again. This act of reconstructing what was broken mirrors my own healing. Each piece becomes both a wound and a restoration.
This practice is more than art it’s a spiritual return to voice and presence. What I lost in writing, I rediscovered in this tactile, layered expression. My mixed media works are visual journals of survival and transformation.
In stitching silence into story, I continue to heal. And in each woven piece, I hope others see not just me, but parts of themselves fragmented, resilient, always becoming.
Crista Uwase

Broken

In the Rwandan society, a woman who hadn’t pulled her labia minora was regarded broken. If married, her husband would send a basket containing a smaller broken basket to the woman’s family to signify that he has rejected her due to not having long pulled labia.
Crista Uwase

Aunties Be Like

“Aunties Be Like” is a title that comes from the way aunties (known as shangazi) demonstrate with their fingers how clarified butter is applied during the pulling which involves holding the labia between the index finger and thumb.
The practice was a secret known among older girls and mature women though it would be talked about using metaphors such as guca imyeyo (to collect grass for making brooms.) Girls would go to bushes where they would build a small house with sticks thatched with grass and in this house, they would engage in the practice.
Finalist