Every year, more than 100 artworks by emerging artists from across South Africa come together under one roof for the Sasol New Signatures exhibition at the Pretoria Art Museum. But what does it take to bring such a diverse collection of voices, mediums, ideas and artistic approaches together into one cohesive exhibition?
Hannelie du Plessis, curator of the annual Sasol New Signatures exhibition, has been answering that question for the past 23 years. Since joining the Pretoria Art Museum in 2003, she has seen the competition evolve, watched emerging artists develop their voices and careers, and curated thousands of artworks.
We sat down with Hannelie to discover what happens behind the scenes of one of South Africa’s longest-running art competitions, from the art and intricacies of curating such a diverse exhibition to the practical challenges of its installation, the artists and artworks that have stayed with her over the years, and her advice for the next generation of emerging artists.
How has the competition, and the work being submitted, evolved since you first started curating the exhibition?
The competition has evolved in different ways over the last 23 years. Social media has played an important role in reaching a much broader audience, not only university students, but also people in more rural areas and from different backgrounds. With this much larger audience comes a wider variety of artworks from which to choose.
Every year, you are faced with the extraordinary challenge of bringing together more than 100 artworks by artists from across South Africa, each with its own voice, medium and story to create one cohesive exhibition. Where do you begin laying out the exhibition?
A couple of factors will dictate where certain artworks will be placed. I will usually start with the practical considerations, such as artworks that need electricity for sound or light. Other artworks may need a corner area, while others require a darker area. Some artworks need to be suspended from the ceiling, not all the galleries within the museum can accommodate these pieces, depending on their weight.
Larger artworks might need more space for the viewer to appreciate them and will usually hang on a wall that runs from ceiling to floor (not all our walls do). I will place smaller artworks in more intimate areas. Some of the walls cannot accommodate very heavy artworks, and I will always keep that in mind. I also have to consider where the stage for the prize-giving event will be, as well as where the sound engineers and supporting staff will be seated during the event.
How do you create a sense of dialogue between works that may have absolutely nothing in common in terms of subject matter, medium or scale? Are you looking for thematic connections, visual connections, contrasts or sometimes simply a conversation between two works that happens unexpectedly?
By the time the first artworks are placed, I already have a good idea of which artworks work best together to create a conversation. Sometimes colour or style will dictate this, while other times the subject matter or even the form will. You also get a sense of which artworks work best as transition pieces between two different sections.
Sometimes it can be challenging when you have a strong piece that just doesn’t fall into any specific category. Knowing your gallery, once again, may help to bridge this gap, knowing your spaces and where you can create a bit of distance between such artworks and others.
The way I space artworks is also very important in how a particular wall will be read by the viewer, while also giving the artworks some necessary breathing space. I find the sculptural pieces a bit more challenging, though.
How long does the actual installation process take? What is the biggest logistical challenge people don’t realise goes into putting an exhibition of this scale together?
The installation process usually takes a little over a week, depending on how many sculptural artworks we have to prepare plinths for. Artworks that do not comply with our hanging system could also delay the process, as creative plans have to be made while keeping the integrity of the artwork in mind.
After seeing thousands of artworks over the years, are there particular Sasol New Signatures works that have stayed with you? Are there any works that you remember seeing for the first time and immediately thinking, “This artist is going to go somewhere”?
There have been numerous artworks that have stuck with me over the past 23 years, and a whole lot of artists’ careers that I have seen take off because of the Sasol New Signatures art competition. Usually, the artists that go places after this are the ones who take their work seriously and are committed. I’ve seen artists grow through this competition, not only in their art careers, but also in their self-confidence.
Have there been artists whose work you first encountered through Sasol New Signatures and whose careers you have subsequently followed?
Over the years I have worked closely with the various winners of the Sasol New Signatures competition, assisting with the curation of their solo exhibitions, and have followed the careers of those who remain active in the industry. I often see their names at other galleries after they have won the competition.
Are there particular subjects, materials or approaches that seem to be gaining momentum among young artists at the moment?
In the last couple of years fabric art has gained some popularity. Each year differs from the previous one. This year, we have notably more sculptural entries and fewer suspended artworks.
After seeing so many emerging artists enter this competition over the years, what advice would you give someone preparing their work for Sasol New Signatures?
Plan ahead! Do some research, look at previous years’ online catalogues and visit the Sasol New Signatures website to look at the information sessions – they are extremely valuable. Artworks that have great potential get disqualified because of basic issues that are discussed and demonstrated in these information sessions.
What is the biggest mistake you see emerging artists making when presenting their work for a competition or exhibition?
There are a couple of mistakes we see artists make, such as poor technique or workmanship, the quality of the materials, such as poor-quality paper or framing, and artworks that are problematic to hang. A good concept and a well-written (not over-complicated) synopsis can often pull an artwork through, but the opposite is also true.
And perhaps most importantly: what would you say to an artist who enters Sasol New Signatures and isn’t selected?
You need to plan your time management as well as your financial management in terms of the materials, framing and other things needed for the finished product. Also, be realistic about your expectations. Is the Sasol New Signatures competition the right competition for your type of art? Do you need to mature or grow a bit more in your art, or work a bit more on your technique? There is always room for growth.
Anything else you would like to add?
Before this Q&A, I did not realise that I have been involved with Sasol New Signatures for so many years. It has been a privilege to work alongside Nandi Hilliard and Pieter van Heerden from the Association of Arts Pretoria, the organisers of this competition, as well as the various people who have been involved with the competition over the years.
A heartfelt thank you to Sasol for being the sponsor of this competition for so many years and for supporting artists all over South Africa, making this opportunity accessible to emerging artists throughout the country. Thank you also for supporting the Pretoria Art Museum in providing a platform where people can enjoy the fruits of these artists’ work and in helping to keep the museum relevant.
