Kisitu Gideon is a gifted artist well-known for his mixed-media pieces, advertising design, and vivid, emotive paintings. Gideon, who was born in Nsambya Hospital in 1998, had a keen interest in painting from a young age and experimented with a variety of media and techniques. March 2024 marked Gideon's third-year graduation. Bachelor's degrees in industrial and fine arts, with an emphasis on painting, were offered at Makerere University. Since he began painting in Primary Six, Gideon has been drawn to acrylic on canvas and abstract cubism. Inspired by South African artist Baba Tjeko and Ugandan artist Banadda Godfrey, he uses geometric figures in abstract cubism to describe his ideas. Prior to this, he investigated artistic themes like cow rustling in the Karamoja region, which I believe the government may utilize to stop cattle rustling there. He participated in the My Impressions Art Competition 2023 and displayed his work at his first exhibition. With a painting titled "SINCE THEN," he conveyed my experience of Nigeria while also inviting the observer to investigate his distinctive technique and use of abstract cubism in a novel and thought-provoking way. Along with their artistic endeavors, Kisitu Gideon is a fervent supporter of the arts, dedicated to advancing arts education and cultivating a deeper understanding of the importance that art plays in society. In addition to serving on the boards of numerous arts organizations, they have instructed students of all ages in painting seminars and classes. Gideon is still producing works that challenge, inspire, and engage audiences today. They are among the most dynamic and inventive artists of his time, possessing a great eye for detail, a mastery of numerous media, and a profound reverence for the natural world. The fractured lives and uprooted communities brought about by livestock rustling are examined in this picture. To portray the chaos and sense of loss felt by individuals and families, the artist used fractured forms, disjointed patterns, and dark color palettes. The fractured compositions and broken lines stand in for the deep wounds this kind of conflict leaves behind as well as the divisions among communities. Viewers are prompted to consider the human cost and the resiliency of people affected by the picture. Northeastern Uganda's Karamoja region, which borders South Sudan and Kenya, is semi-arid. Numerous ethnic groups, such as the Turkana, Pokot, and Karamojong, who have a long history of pastoralism, subsistence farming, and hunting and gathering, call the region home. In the Ugandan district of Karamoja, where pastoralist people largely depend on livestock for their subsistence, cattle rustling has long been an issue. Resources have historically been the source of conflict in the area, including livestock raids and retaliatory attacks that have resulted in fatalities and community displacement. In Karamoja, competition for resources like pasture and water, ethnic tensions, and poverty are some of the main causes of cattle rustling. Rustlers target animals to sell on local or national marketplaces. Thus, the artwork is primarily an abstract painting in which I tried to capture the manner Ugandan soldiers are attempting to assist in resolving the rustling issue. I painted a soldier on one side and two rustlers on the other, one hidden and the other attempting to aim in the center. I created an abstract representation of hands holding a jail cell to symbolize the effects caused by cattle rustling. The fourth person, on the left, represents the traditional clothing worn by the Karamojong people. I then created a block-structured background to give the painting pace. My color choices were influenced by the Karamoja region as well as the Ugandan military's uniform hue. The purpose of the rough surface was to make the work stand out by taking into account the hardness and roughness of the land surfaces in the Karamoja region.