The South African art scene is undergoing a seismic shift, driven by artists who reject convention and redefine what it means to create. Figures like Samantha Maseko and Lwando Dlamini are expanding artistic expression, exploring identity, resilience, and storytelling. Their work ignites urgent conversations about African art’s place in the world, the financial realities of being a creative, and the future of the industry.
Samantha Maseko and Lwando Dlamini refuse to be confined by expectations. They are carving out their own spaces, challenging the system, and daring to claim African art’s future as their own. Their work is not just about aesthetics—it’s about power, agency, and the refusal to be overlooked. As South African artists like Samantha Maseko and Lwando Dlamini continue to challenge the boundaries of artistic expression, the question remains: Will the future of African art remain in our hands, or will it still seek validation beyond our borders? The work of these emerging creatives suggests that the answer lies in their resilience, innovation, and unwavering commitment to storytelling.
Samantha Maseko born in Boschfontein, Mpumalanga) is a Johannesburg-based artist working in oil, collage, assemblage, and print. Her “Crowning Glory” series celebrates Black womanhood through hair as a symbol of power, while her burnt figures explore destruction and renewal. A recipient of the 2024 Female Exchange Residency, Maseko is redefining the boundaries of African art.
SL: How does your work challenge or redefine the narrative of African art today?
SM: My work challenges traditional ways of making art by constantly pushing boundaries in technique, material, and storytelling. I’m always exploring new ways of creating, combining different textures and materials to evoke emotion and meaning. My process is experimental and intuitive, allowing each piece to take on a life of its own.
Rather than conforming to a single style or narrative, my work embraces fluidity. Sometimes I’m layering, burning, or even cutting into the surface to reflect themes of transformation, resilience, and hidden histories. I believe African art is not static—it is constantly evolving, just like the people and stories it represents. Through my art, I aim to expand the conversation around what African art can be, breaking away from conventional expectations and creating work that resonates on a deeply personal and universal level.
SL: Do you feel that South African artists are truly valued at home, or do we still need international validation?
SM: There’s undeniable talent in South Africa, but I think many artists still feel they need international validation to be fully recognised. It often takes overseas attention for local collectors and galleries to start valuing an artist. However, I believe there’s a shift happening where African artists are reclaiming their stories, defining their worth, and no longer waiting for global markets to validate them.
SL: What has been your biggest struggle as a visual artist in South Africa, and how have you overcome it?
SM: A major challenge for me has been achieving financial sustainability. It’s difficult finding the balance between staying true to my creative freedom and the need to make a living. As an artist, you’re constantly investing in materials, exhibition preparation fees, and promoting your work. It can sometimes feel like you’re navigating the industry on your own. It’s really hard trying to make your mark in a competitive field, but I’ve managed to overcome this by staying consistent, getting creative with how I fund my projects, and building meaningful relationships with galleries and collectors who truly believe in my work.
SL: Can artists in SA make a sustainable living, or is financial success still a privilege for a select few?
SM: It’s possible, but it’s not easy. Financial success in the arts is still limited to a small group of artists who have the right connections, gallery representation, or international exposure. Many talented artists face challenges because the local market tends to support those who have established a strong brand or reputation, often favoring artists based on the name they’ve built for themselves rather than their actual work. However, more artists are finding ways to sustain themselves through alternative income streams like commissions, residencies, competitions, and international exhibitions.
SL: What excites you most about where African art is heading?
SM: I’m excited about how African artists are reclaiming their stories and challenging Western expectations. There’s a rawness and honesty in contemporary African art, whether through mixed media, performance, or digital spaces. More platforms are showcasing African talent, and collectors are finally recognizing the depth of our narratives. It feels like a moment where African art isn’t just being observed but is actively shaping global conversations.
Born in 1992 in the Eastern Cape and raised in the Western Cape, Lwando Dlamini's work spans Cape Town and Johannesburg. He primarily employs oil paints and mixed media, exploring personal and institutional violence, vulnerability, and transformation. Dlamini’s art features exaggerated black figures against color field backgrounds, creating a surreal yet familiar visual language.
Dlamini holds a Fine Arts diploma from Ruth Prowse School of Art (2017). His accolades include the David Koloane Award (2018), a residency at Bag Factory Art Studios, and the Thami Mnyele Fine Arts Award (2022). His work has been exhibited locally and internationally, with collections in major institutions, including the HAUSEN Collection in New York.
SL:How does your work challenge or redefine the narrative of African art today?
LD: Honestly, I don't know how to answer this question. I have come to the conclusion that I'll let the art thinkers, writers and critics deal with that, while I paint. What I can tell you is, I have always thought of going against the grain with painting and going where I have never been.
SL: Do you feel that South African artists are truly valued at home, or do we still need international validation?
LD: Unfortunately the latter.
SL: What has been your biggest struggle as a visual artist in South Africa, and how have you overcome it?
LD: It is extremely challenging to build anything from the ground up. It does take time to build a solid foundation and maintain a sustainable career as an artist.
We are fortunate for art opportunities, competitions, residencies etc. And the unwavering support from local art collectors. These roles and opportunities help shape our journeys as (South) African Artists.
SL:The Business of Creativity: Can artists in SA make a sustainable living, or is financial success still a privilege for a select few?
LD: I genuinely think everybody gets his or her chance. What is more challenging I think is maintaining and growing this chance? One just has to find a way to keep on making.
SL: What excites you most about where African art is heading?
LD: think a fair considerable amount of African artists are doing exceptionally well for themselves and in the process giving the continent a good reputation. They have figured out how to maintain this success or win (whatever it means for each of us).While others, like recent graduates and all are merely figuring how to get in.
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