South African sculptor Ndivhuho Rasengani opens solo exhibition in Seoul

South African artist and designer Ndivhuho Rasengani poses at 37A gallery in Seoul, May 26. Courtesy of Bereket Alemayehu

South African artist and designer Ndivhuho Rasengani recently presented his first major installation exhibition in Seoul, titled "RITUALS OF DWELLING," at 37A gallery in the central Yongsan District, marking an important milestone in his evolving creative journey.

Rasengani's work occupies the intersection of sculpture, kinetic installation and spatial research. With a fine arts master's degree from the Rhode Island School of Design and a background in foundry and digital fabrication, his practice moves fluidly between rigorous technical systems and intuitive handcraft.

Although he officially worked for only a few years, his practice draws from a deeper foundation in architecture. His fascination with space, atmosphere and the materials that shape our environments continues to influence his artistic vision.

The artist, having worked and evolved across continents, has shown his pieces at both public projects and private showcases in South Africa, China and the United States. In 2025, he established Rasengani Atelier, a formal evolution of his daily practice into a collaborative research laboratory. The Atelier serves as the bridge between high-concept artistic inquiry and the physical realization of form, making the sophisticated dialogue of structural art accessible to a global architectural landscape.

"I've always been interested in spaces. This exhibition allowed me to move from thinking about architecture on a large scale to exploring intimacy through objects that can live within the home," he told The Korea Times.

The Seoul exhibition brought together works developed over several years and across multiple countries. Some pieces originated during his studies in Rhode Island, while others evolved through material experiments conducted in Chicago. Later, during his time as an art resident in Shanghai, he expanded his practice much further, developing intricate works that explored ritual, light, smoke and sensory experience.

At the center of his work is a fascination with materials commonly used to build cities and homes. Concrete, steel, brick and glass feature prominently throughout his sculptures and installations. While his earlier work focused heavily on structural materials, glass became a significant addition to his artistic expression through repeated experimentation. Set within a domestic environment undergoing visible urban transformation, the exhibition unfolds in parallel with its local context. Staged in Seoul, the project proposes a dialogue between South African material sensibilities and Korean spatial culture.

"I love reflective surfaces," he said. "Glass creates atmosphere quickly. It draws the eye and changes how people experience a space."

A glass piece by South African artist and designer Ndivhuho Rasengani is displayed at 37A gallery in Seoul, May 26. Courtesy of Bereket Alemayehu

Among the artworks are incense holders inspired by everyday moments, such as the morning steam from a kettle or the mist from a shower. These works reflect his interest in how objects can facilitate personal rituals and transform ordinary spaces.

"I've been trying to blur the line between sculpture and function. The question is not only whether an object is beautiful, but also what role it can play in everyday life."

Although this exhibition represents his first major showcase in Seoul, it is not his first visit to Korea. He came in 2017 for an international architecture conference and returned briefly earlier this year. During his first visit, discussions about a potential exhibition began to take shape. While many of the smaller sculptures were transported from abroad, the exhibition itself became a significant international collaboration. Much of the steel fabrication, concrete work and material experimentation took place in Seoul. He worked closely with Korean sculpture student Jeong Taek-lee of Seoul National University, whose expertise in woodworking and sculpture contributed to the realization of the exhibition.

He recalls that the project emerged from a casual conversation earlier this year and quickly evolved into a full-scale exhibition through the efforts of collaborators working across Korea, China, Spain and South Africa. He highlighted that trust became the foundation of the entire process.

"There was a lot of trust involved," he said. "People were moving between countries, designing remotely, sharing ideas and making things happen together. We were just talking about how it would be great to showcase work in Seoul one day. Then suddenly everyone decided it was time to stop talking and actually do it."

As one of the few African artists currently exhibiting in Korea's contemporary art scene, his presence offers Korean audiences a fresh perspective on materiality, architecture and cultural exchange.

Art by South African artist and designer Ndivhuho Rasengani is on display at 37A gallery in Seoul. Courtesy of Ndivhuho Rasengani

For Spanish curator Raquel García Portillo, working on the project with Korean curator Lee Jong-gun since its initial stage was an amazing experience with a satisfying outcome through months of collaboration, trust and shared artistic vision.

"I've always loved curating and discovering new artists," she said. "When I met Ndivhuho through our partner, I immediately felt it was a project we could create together. We all come from different backgrounds, but we share similar ideas."

The central curatorial question guiding the exhibition was at what point does an artwork become an object, and can an object become an artwork?

"We wanted to explore how people connect with objects and artworks. Does it happen through ritual? Through living alongside a piece? Through observation and contemplation?" she said.

These questions inspired the team to design the exhibition as a domestic, house-like environment rather than a conventional gallery space. Visitors are invited to experience the works as part of everyday life.

The exhibition is entirely self-funded, with the team relying on their individual strengths and professional networks to manage everything from curation to marketing and promotion.

The exhibition runs until June 7 at 37A gallery in Yongsan District, Seoul, between 11 a.m. and 7 p.m. Admission is free. Visit rasenganiatelier.com for more information.

Bereket Alemayehu is an Ethiopian photo artist, social activist and writer based in Seoul. He’s also the co-founder of Hanokers, a refugee-led social initiative, and a freelance contributor for Pressenza Press Agency.