Teasing out the intersections between magical thinking, ritual, religion, consumer culture, personal and collective fantasies and game playing.

Revisiting the beguilement of childhood toys, puzzles and games trough touch, manipulation and movement.

Imaginative, playful attempts at conveying or typifying social encounters, social inclinations, patterns of emotions and shared dispositions.

But what does it mean?

Exploring the notion of a custom made divinatory system

With the quasi-trademark of Propitas, the artist makes a fictitious consumer offer that targets the attitudes, expectations, fears and desires of the average middle-class household. Through imaginative play with elements from South African insurance, security, marketing and spiritual industries, the exhibited artworks make offers and promises for the propitiation and soothing of fate and, as such, suggest serenity for the implied consumers.

Toy Windmill addresses universities as gate-keeping entities that allow entry to some and not to others. Gate turnstiles manifest this system of access. Toy Windmill transforms a turnstile from the UFS into an object that’s part toy part creature: open, familiar and playful. The giant windmill is colourfully animated with 10,000 smaller windmills, capturing individuals’ hopes and dreams.

Miné Kleynhans has contributed to the Richmond Land Art project since its onset in 2013. She serves in the capacity of project coordinator and facilitator alongside Prof. Willem Boshoff and various staff members from the Fine Art Department.