Jan Ernst de Wet describes himself as a dreamer and a free spirit, who lives curiously and spends most of his days in a make-believe world — somewhere where the ordinary does not exist.
In the "real world", De Wet says he's a multidisciplinary creative specialising in collectible design using clay as his main medium, as well as a qualified architect and the co-owner of Studio AN, a creative architectural platform based in Cape Town.
Here, De Wet tells us more about his work and inspirations:
Your work is unusual and almost fantasy-like. Where did the concept originate and how did it all come about?
I am inspired by nature, ecological systems, and biology. Within that there are endless possibilities. I think subconsciously I have created things that are not usually possible
in architecture — forms, textures, and defying gravity. I am also still a child deep down and take immense pleasure in being able to explore a non-conformist way of thinking and making.
Who or what inspires you, and why?
I am mostly inspired by natural landscapes, from a macro to micro scale. We moved around a lot when I was younger, and I was fortunate to be exposed to different places.
My anthill-like Veld Candelabra, for example, was inspired by a trip to Madikwe. I had never been on a bush safari and observing the veld slightly elevated made me aware of these monolithic sculptures plotted around. The similarities between what the ants were doing and where I wanted to go were striking. One of the mounds had been opened, exposing the network of tunnels, negative spaces, and textures. The red colour of the dirt was almost the same as the terracotta I had been using, so it made sense to use this to create the candelabra.
You work mainly with clay. Would you consider other materials or media?
Clay has been the focus because I believe it is a material that has not been explored to its full potential in contemporary design. I am drawn to the organic nature of clay and how it can be manipulated. If I had to explore other materials, it would be something like bronze that is fluid and could be cast.
How do you navigate your way through a creative slump?
Prior to studying architecture, I completed a year of art school. Part of the programme was graphic design, and I had a lecturer who always used to say: "Get out all the bad ideas." I never stop making, I just get out the bad stuff because even if it is just a tiny idea, sometimes something great is born when digging in the mess.
What is your typical day as an artist?
I get up at around 6am and go to gym or a run on the promenade. I have some of my biggest "aha!" moments early in the day. When I get home, I will spend some time putting ideas on paper or making models. The day is then split in two, to give attention to both Studio AN and my ceramics brand, Jan Ernst Collectible Design.
A day in the ceramic studio starts by planning first. Things on my agenda would be attending to client e-mails, driving around for supplies, in-person client meetings and then prioritising the making part.
At the moment I am collaborating with Vorster and Braye on a furniture commission for Meeco Home. This requires a lot of planning because we need to attend to other projects too. This project is close to my heart because it is the first of its kind in scale, complexity and volume.
I usually work in the studio until 6 or 7pm. A lot of designing.
Whose work would you love to own?
The bronze chair by Greek studio Voukenas Petrides. The chair is otherworldly. It is beautifully organic, with curves and junctions handled skilfully. There is something archaic and primal about it, as if it were dug up from a cave, but contrasted with a shiny material that gives it a contemporary feeling.
If you could choose anyone to collaborate with, who would that be and why?
Rogan Gregory. He is a New York-based functional artist who creates designs inspired by biomorphic forms. His approach to design is unique and innovative and blurs the boundaries between sculpture and furniture design. I find his ability to switch between different materials fascinating because he manages to explore different creative avenues but stay true to his design philosophy.
Describe yourself in five words?
Curious, driven, optimistic, cautious, flexible.
Your message to young artists in SA?
The world is a very confused and confusing place right now — we see this reflected in all forms of art and design. The work being produced by well-known artists is either expressing this sense of being lost or digging in the past and culture to give a sense of belonging. If ever there was a time to create something unusual, conceptually mind-blowing and dare I say, "aesthetically challenging", the time would be now.
What are you working on?
I'm preparing for a group exhibition for The Collectible in Brussels with Artskop Gallery, which represents my work in France, Switzerland and Belgium. I am one of three African artists who will be at the functional art fair. I am also fortunate to be working with some of the biggest names in South African design.
I am creating an ocean-inspired range for Merchants on Long made up of vessels, candelabra and other functional art pieces.
Towards the end of the year I will release my first vessel collection inspired by seed pods and a furniture collection in collaboration with Design Africa.
