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#AfricanRenaissancePodcast On the relationship between gallery representation, reputation and the perceived value of an artist's work. Makamo explains that a gallery's commission is not only about a sale; it can also be understood as an endorsement that signals value to the market. This raises a difficult question for artists: how much of the price attached to their work reflects the work itself, and how much is shaped by the reputation of the institution or people associated with it? The conversation highlights the role that representation can play in the art market, while also raising questions about the power artists have to establish their value independently. Nelson Makamo: So, and then why do they take 50? It goes back to value. So there's a belief that, um, if I'm signed with so and so— ... I'll have value, and the, their 50% is them endorsing you as an artist.

#AfricanRenaissancePodcast On the humble beginnings of an artistic journey and the first artwork Nelson Makamo ever sold. In conversation with Dr Mbuyiseni Ndlozi, Makamo recalls selling his first piece for just R25. It was an A1 pencil drawing—a reminder that the beginnings of an artistic career can look very different from the recognition and financial value that may come later. The exchange opens up a discussion about how artists develop over time, how the value of their work changes and what lies between the first person willing to buy a piece and the establishment of an internationally recognised artistic name. Nelson Makamo: I, I... Like, I started, my first artwork I sold was 25 rand. Dr Mbuyiseni Ndlozi: Hmm. How big was it? Nelson Makamo: Um, A, A1. A1 is, like, maybe 100 by 100 centimeter. Dr Mbuyiseni Ndlozi: I see. Was it a, a drawing using— Nelson Makamo: It was a— Dr Mbuyiseni Ndlozi: ... charcoal pencil, or was it— Nelson Makamo: It was a pencil.

#AfricanRenaissancePodcast On the gap between learning to create art and learning how to build a sustainable career from it. Makamo reflects on how artists can be taught to produce work without necessarily being taught to understand its commercial value. That gap can leave creatives unprepared to make decisions about pricing, representation and the business structures around their work. He also points to the opportunities available to artists who use the tools of the present day to build value independently. His comments make a case for treating business knowledge as an important part of an artist's development, rather than something separate from the creative process. Nelson Makamo: You're not taught to understand the value of what you create. So it would make me business illiterate. The question you ask in terms of how do I build value— ... um, it becomes almost like a master class that you give. We have made it easy for artists to understand that you can independently build a value with the tools of today— ... and taking advantage of those tools. Whereas in, in the olden days, they would sell data that they would have.

#AfricanRenaissancePodcast On recognising the value of your work before the world fully recognises your name. Reflecting on the first artwork he sold and how its value might be viewed today, Makamo arrives at a powerful point about the relationship between an artist and what they create. The value of a work is not necessarily limited to the price it commands at the moment it is made. An artist's body of work develops over time, and pieces from earlier stages can become important records of that journey. Makamo's reflection is a reminder of the importance of taking your work seriously, even before others understand its significance. Nelson Makamo: So what, what, what it teaches you that everything that you create is, has value today. You are value. Everything that you put your signature has value.