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Smokes Bloom frankincense burner in cast aluminium – part of a body of work that was shaped by his residency in Shanghai, and his take on the city’s scale, light and density. -
Internal Fortitude cast glass vessel, also inspired by his time in Shanghai. -
Moon Lamp in cast glass, carved steel and rosewood. -
Internal Fortitude 002 material series development.
Designer and artist Ndivhuho Rasengani, founder of Atelier Rasengani, views design as an act of quiet storytelling.
WORDS Steve Smith PORTRAIT Steven Piper PHOTOS Supplied
Usually it’s the smell of incense that gets your attention, not the vessel the stick is perched in. But that was not the case with Held Smoke. Entered into this year’s Cape Town Furniture Week’s CTFW x VISI Design Prize, this incense holder’s unusual shape and materiality was a curiosity that invited a closer look. It was architectural, sculptural, even a little sci-fi – and my fellow judges and I loved it. It ended up winning the Authenticity category.
The piece wholly represents its maker’s practice and personality. When you meet Ndivhuho Rasengani, you’re likely to be struck by the mix of his quiet, graceful persona and joyful, creative side that exudes positivity. He both observes and takes great delight in the world he encounters – and Held Smoke emerged from his recent residency in Shanghai, reflecting its ultra-modern cityscapes from the perspective of Ndivhuho’s quiet contemplation.
“I explore the conversations between materials,” says Ndivhuho. “Steel brings strength, weight and permanence; glass offers lightness, transparency and quiet uncertainty. In my work, these qualities are not in conflict – they exist together, held in a deliberate balance.”
He holds an MFA in sculpture from the Rhode Island School of Design, and his sculpture and glass works have been recognised in the US through fellowships, and with exhibitions at the WheatonArts cultural centre in New Jersey as well as the Socrates Sculpture Park in Queens. We spoke to this talented South African to explore the ideas, influences and philosophies that are shaping his work today.
“My journey into design has been a gradual refinement of a sensibility rather than a fixed decision. I began with a deep interest in how objects hold presence; how they carry atmosphere, memory and emotion within space. Over time, this has developed into a multidisciplinary practice that spans sculpture, installation and collectable design.
“Working in cities like New York and Chicago exposed me to a global design language, but returning to Johannesburg has been equally defining. It has allowed me to root the work in a slower, more intentional rhythm – one that values craft, material sensitivity and the experiential quality of space.”
“I’m drawn to the intangible, to moments that are fleeting yet deeply felt. Reflection, distortion, stillness and transition are recurring themes in my work, and material is central to this exploration. Glass, in particular, allows me to work with light, depth and perception in a way that feels both precise and poetic. I think of materials as carriers of atmosphere, shaping how a space is experienced, and not just how it’s seen. My references often extend beyond design into architecture, fashion and hospitality – disciplines that understand the power of detail, restraint and sensory experience.”
“My design approach is rooted in creating objects and environments that hold a quiet but intentional presence. I’m interested in work that reveals itself over time; pieces that reward proximity, light and movement. The process is conceptual yet deeply material. Each project begins with a spatial or emotional proposition, but it is by working closely with materials, testing, refining and allowing for nuance, that the final form emerges. There is a strong emphasis on craft and finish, with an understanding that luxury today is not just about exclusivity, but about depth of experience, material integrity and the ability of a piece to transform its environment.”
“Held Smoke began as an inquiry into how one might give form to something ephemeral. Smoke is inherently transient; it resists containment and exists in a constant state of movement. The piece explores the idea of suspension rather than capture. It seeks to create a moment where something fleeting appears held, a quiet tension between permanence and disappearance. Through the use of glass and reflective surfaces, the work plays with perception, allowing the viewer to encounter something that feels both present and elusive. The object shifts with light and movement, echoing the intangible quality it references.”
“Looking ahead, I’m interested in situating the work within more immersive and architectural contexts, particularly in collaboration with spaces that prioritise atmosphere and experience. I see the practice moving towards creating site-specific installations and collectable objects for environments such as hotels, retail spaces and cultural institutions, where design is used to shape how people feel in a space.
“There is a growing focus on developing pieces that operate at the intersection of art, design and luxury – works that can live in refi ned, detail-oriented environments while holding conceptual depth. I’m particularly interested in collaborations that value material innovation, spatial storytelling and a strong curatorial sensibility.” rasenganiatelier.com | @r.asengani
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