Johandi du Plessis-Kleynhans, artist, researcher, and junior lecturer at the University of the Free State (UFS) Department of Fine Arts, has been making waves in the art world with her approach to installation art. Du Plessis-Kleynhans, who was recently awarded the prestigious Ampersand Fellowship and Residency to study in New York City, challenges traditional notions of space and engagement through her work, and sheds light on the sustainability of a livelihood within this dynamic art form.

For Du Plessis-Kleynhans, installation art is not just a medium but an experience that transforms spaces and engages viewers on multiple sensory levels. She describes it as “the arrangement of images and objects that transforms entire rooms, buildings, or even land, creating an immersive experience for the viewer.” She emphasises the importance of viewer participation, saying that “unlike passive consumption associated with mass media, installation art often attempts to activate the viewer”.

She recently hosted her solo exhibition Viral Images at the Oliewenhuis Art Museum, showcasing her mastery of installation art by incorporating diverse mediums and materials, from sculpture to digital interventions. She invited viewers to interact with her artworks, fostering a sense of connection and engagement.

Reflecting on the popularity of installation art, Du Plessis-Kleynhans notes a growing interest from academic circles and broader audiences, and attributes this to the evolving nature of an art form that continuously challenges conventions. “I encountered this firsthand approximately two years ago, just before my exhibition. I was invited by the museum to lead a session on installation art as part of their Fine Arts Friday initiative – an inclusive programme open to all.”

Du Plessis-Kleynhans believes individuals practicing installation art can build sustainable livelihoods by selling their work to fund projects that may not have immediate market appeal. She acknowledges challenges such as size restrictions in art competitions but remains optimistic about the future of installation art and its ability to disrupt traditional modes of exhibition.