In episode 5 of Art in Focus, host Tristanne Farrell chats with two Cape Town-based artists who have made waves globally. Brett Seiler and Sanell Aggenbach share how their professional careers started, how they broke into the international market, how African art and curatorship influence the global art scene, and which emerging artists they’re collecting.
Listen to ep 5 now
The Emerging Artist’s Hustle
Seiler, a Zimbabwe-born artist, known for his bold exploration of political, sexual, gender, and cultural themes says that when he graduated, he had to hustle to get his works in the public domain. “I realised there wasn’t going to be someone to just pick me up and give me a career, so I kind of just did it myself. I went looking for spaces where I would host one-day pop-up exhibitions and got a community together and we hosted one-off shows,” Brett explains.
For Aggenbach, her big break came in the form of a UNESCO Aschberg Residency Programme in India. “It elevated my profile and led to my show at Bell Roberts. It sort of kicked off my career,” she reflects.
The Power of International Exposure
For many artists, exhibiting overseas is a milestone that can shape their careers. Seiler and Aggenbach both emphasise how showing internationally opens up new markets and raises the level of competition. “It takes your level of art into a different atmosphere,” says Seiler. “It’s eye-opening.”
Aggenbach agrees but adds a practical perspective: “You know what sells in South Africa, but that does not apply to the international market. You have to lift your game.”
Their insights reflect the evolving nature of the global art scene, where adaptability and ambition are key to staying relevant.
The Lifeline of Investec Emerging Artist Award
Investec’s commitment to the arts extends beyond sponsorship. Their new Investec Emerging Artist Award provides financial support, recognition, and a launchpad for young creatives.
Seiler, who remembers making his own canvases and painting with bitumen (roof paint) because it was all he could afford, understands firsthand the impact of financial support. “If there was any chance to have studio rent or materials covered, even for a few months, it could change an artist’s whole career,” he says.
Aggenbach, who won the Absa L’Atelier Award in 2003, credits it with solidifying her career: “It was the push I needed to take it seriously.” She points out that financial challenges often force young artists to quit before they’ve had a chance to establish themselves.
A Collector’s Eye: Supporting Young Talent
Both artists are passionate collectors in their own right, with an eye for emerging talent.
“I do a lot of art swaps,” Seiler reveals. “It’s a different kind of currency.” However, he’s quick to add, “If it’s a young artist, I buy it – because I know they need the finances.”
Aggenbach shares a similar sentiment. She recalls buying a Zander Blom drawing from his first solo show and even couriering it back to Johannesburg for him to sign. “Those are works I’ll never sell,” she says, emphasising the emotional connection between artists and collectors.
Some of the emerging names they’re excited about include Nabeeha Mohamed, Jeanne Hoffman, Luca Evans, and Atang Tshikare.
Art Material and Meaning
Seiler and Aggenbach’s distinct approaches to materials are central to their identities as artists. Seiler’s signature use of bitumen began as a financial necessity but has evolved into a deliberate aesthetic choice. “I walked into Builder’s Warehouse and saw what I thought was black paint – it wasn’t. But it stuck with me.” His latest work introduces green bitumen, expanding his tonal range while maintaining his signature moody, expressive style.
Aggenbach, on the other hand, is drawn to cerulean blue and Payne’s grey, which dominate her upcoming solo exhibition Past Lives. “For me, blue is the colour of memory – a bit of melancholy, a bit of dreaminess,” she reflects. Her layered glazing technique means each painting takes one to six months to complete.
Both artists are also debuting new print works at the fair with Loft Editions, making their work more accessible to young collectors. “Print studios are essential,” says Aggenbach. “Not everyone can afford a painting, but prints allow new collectors to start investing in art.”
Challenging Western Norms
The artists agree that African art is making a significant impact on the international stage, challenging Western art concepts. “South Africa is making an incredible impact in the international market,” Sanell asserts, pointing to the appointment of Koyo Kouoh as the curator for the Venice Biennale as evidence of this shift.
Brett adds, “The South African market is quite laid back, and the European market can be a little bit more uptight,” noting the cultural differences that influence the reception of their work.
A Celebration of Art and Community
As Seiler and Aggenbach prepare for their respective exhibitions at Everard Read, their journeys underscore the resilience and generosity that define South Africa’s art world. From lifting young artists to using their platforms for social change, their work is a testament to the power of creativity – not just as an aesthetic pursuit, but as a force for connection and transformation.
