By Kemiso Yasmine Wessie 

Mpumi Mayasi. Gliding Through the Gallery (2026) via Tsoko Art Advisory. 

Whether it's an art fair attended by collectors, patrons, dealers, the who’s who of culture, fashion, entertainment and society, smiling families, and schoolchildren, or well-marketed exhibitions within walking distance of another, experimental art forms, open studios, and an always fun First Thursdays spent in buzzing art galleries — the art scene has something for everyone and seems to really be making an effort to move away from its elitist and gatekeeping past towards a more inclusive, familiar and sincere way of engaging with art. 

While the art world hasn’t completely done away with the high prices, vernissage evenings and the acronymed financial classifications for a typically Western clientele, the 2025 Deloitte Private Art and Finance Report echoes this. From emerging curators, artists and a new generation of collectors and enthusiasts, the call is clear for a more “transparent, inclusive, cost-efficient and modern” art market, citing meaningful reform as a priority for the art market’s future.

The report only includes art professionals and collectors from regions including Europe, the US, the Middle East, Latin America and Asia, with no mention of Africa. Although, according to MOMAA, African art presents “one of the most dynamic and culturally significant opportunities in the global art investment landscape, combining emerging market potential and profound cultural heritage and artistic innovation." And South Africa has bared its teeth to the global art market, with Gerard Sekoto, Zanele Muholi, Santu Mofokeng, Moshekwa Langa, Mary Sibande and Gabrielle Goliath in conversation from London and New York to Amsterdam, Paris and Berlin. 

And while affordable South African art may not seem like much of an agenda item for the industry to consider against the history-making sale of Irma Stern’s Children Reading the Koran in 2023 or, more recently, Jacob Hendrik Pierneef’s Approaching Storm, Sabi Sands at a gavel-knocked R8 177 813 in August this year at Strauss & Co. It certainly matters. 

Jacob Hendrik Pierneef, Approaching Storm, Sabi Sands (1952) via Strauss & Co. 

Deloitte notes the opportunity that the mid-market (with artworks valued between US$50,000 and US$1 million) presents during a global market slowdown. This, combined with a call for diversity and inclusion in the art world, furthers a case for a more holistic approach to the art market. Only 52% of young collectors cite financial return as the sole motivation to buy art, down from 83% in 2023, with many now seeking more meaning and purpose from their purchases. 

As uncertainty rages on against a backdrop of technological advancements, climate change and a shaky global economy, crisis and conflict force us into our silos. From this, art seems to be the one thing that brings us together, offering a way to engage with ourselves but also with each other, and it's a great investment to boot. 

The stokvel economy, with over 11 million people participating in one or more of the country’s 800 000 stokvels, contributes more than R50 billion a year into South Africa’s economy. And while the financial gains alone make it a compelling option, the friendships and social networks that are formed are just as important (Matuku & Kaseke, 2014). Used predominantly by working-class South Africans to turn collective saving into financial possibility, a stokvel is an informal group savings scheme in which members voluntarily agree to contribute a fixed amount to a common pool regularly (Lukhele, 1990). 

Whether you’re calling it ‘Lesepe’ in Botswana, ‘Mukando’ in Zimbabwe, ‘Nthumba’ in Malawi, or ‘Esusu’ in Nigeria, the essence of these savings groups remains the same. Such forms of financial collectivism return us to a uniquely African spirit of community and care (Oladipupo, 2022), believing that an individual is a communal being, and even more so with inflation, unemployment, and economic stagnation. Money matters more now than ever, and so does trust. 

Typically used for general savings, education, travel, groceries, homeware, and funerals, stokvels provide members with financial freedom, control and a sense of community. Now, what about a stokvel for art? 

Canvas Capital, founded by artist Nono Motlhoki and fintech specialist Tokelo Matlou, is doing just that by gathering aspirant collectors at different financial levels to make monthly contributions and acquire an artwork when it's your turn and your wallet lives to see another day. Alongside the industry’s gatekeeping and intentionally exclusionary access points, affordability remains a barrier to entry for many art enthusiasts. The stokvel model appears as familiar as it is innovative in addressing this financial and cultural gap. Art becomes more accessible and cultivates a community of art lovers with shared values and interests. 

Mukhethwa Mukinindi, The soul is searching for a deeper meaning (2026). Supplied: The Dealr.

“Young collectors won’t buy what they don’t want,” says Johannesburg-based artist and founder of online platform The Dealr, Muofhe Manavhela. 

Stokvels, fractional ownership and payment agreements with the artists themselves lower the barrier to entry while retaining, and even building, the value of art, while enabling active participation in the South African art market. While some may feel like asking for a payment plan isn’t allowed, Manavela observes, “it's something they want; and [the art world] should be empathetic to their pockets.” She warns that with the current cost of living crisis, artists need to think of other ways to sell their work. 

Putting time, money, effort, and love into something makes you an owner, not just a consumer, and this is the mind shift that will change the way we think about art. Those looking to purchase their first artwork will be more intentional with their purchase, taking time to research and understand the work and ensure they’d be getting their money's worth. Considering this, Manavela notes that Canvas Capital’s stokvel model and online marketplaces, which include some form of advisory and education aspect, are a bespoke experience that, in turn, allows for collectors to grow more comfortable with collecting over time. 

While social media platforms, NFTS, AI and digital art are changing the game, there has been conversation about a much-needed return to the basics. Within this, stokvels present a unique opportunity to bring art not only to a wider range of new collectors but also to educate them in the process. This fosters a deeper appreciation and closer relationship with the artwork and the artist. A 40% increase from 2023 in High Net Worth Individuals (HNWI) buying directly from artists (UBS/Art Basel Collector Report 2025) is a testament to the success of a more direct relationship. 

Moshekwa Langa, Untitled 1 (2008). Via Artsy.

And while the art market’s volatility is a harsh reality for emerging artists, the middle-market is an opportunity for collectors to invest and diversify their portfolios. Understanding lesser-known artists and their stories would support fairer valuations and create more interest and competition at auction, which will ultimately allow buyers to adopt a more long-term approach to collecting once the sport of a trendy acquisition wears off. Group-based initiatives like a stokvel for the art-owners-in-waiting or tour and excursion events like Gliding Through The Gallery make accessibility to art about connection as well as the canvas. 

While the art world is not immune to economic fluctuations, its resilience is evident in its ability to adapt and evolve. The financial health of the market depends on supply and demand, but the value of art goes beyond rands and cents nowadays, even among the hair-raising million-dollar lots.

As the art market grapples with questions of its sustainability and relevance to the emerging public, change is already happening. The stokvel model, and other payment options, are accessible ways for people, specifically of colour, to collect art while also creating new forms of community and active participation in the market. 

The democratisation of the art market is a reality, and while the wealth gap still exists, art is no longer as exclusive as it once was, and African collectors are ready to invest in the continent’s art and artists in a way that signals a more strategic, emotional, collective and sustainable approach to its future.