Interview with Sculptor, Jan Indrans by Zoe Harrington

Inside Jan’s Studio with works in progress
  

Caryatid

 Question: Brancusi is a clear influence in your sculptures. His works, such as ‘Bird in Space’, were inspired by movement. What inspires you to make your sculptures?
Jan: Yes, Brancusi is an infl uence on my work as is Henry Moore and Anthony Caro, just to name a few; these sculptors deal with what I consider to be the fundamentals of sculpture; space, mass and form. With these principles in mind my sculpture persues an enquiry into the physical and mental world that I inhabit, to distill some form and stillness from the fl ux that is life. This country has a sense of boundless space and horizons, there is a feeling of timeless mystery expressed by the song of it’s ancient custodians, these are a hidden yet integral influence in my work. My fascination with Carl Jung’s scholarly work on symbols also bears influence, as does the music of Mozart, Beethoven, Philip Glass and jazz . My aesthetic pull is towards Minimalism, the Bauhaus Movement and the clout of Mayan, Classical Greek and Palladian architecture is hard to get away from.

Eastern Promise

Duo

Question: Did you always want to be a sculptor?
Jan: No, although I always wanted to be an artist. My early days were spent at an easel. I was fortunate enough to attend art school in the UK where I studied both 2d and 3d art. It was only in my later years that I had the road to Damascus moment and I realized that I was able to visualize the third dimension having not realized that not everyone could see around corners!

Question: Your sculptures demonstrate your tremendous skill in wood carving. When did you start creating in this medium? What is your preferred type of wood to work with?
Jan: About twelve years ago after a career and lifestyle change. Regarding wood as an expressive medium the Australian hardwoods, red gum and jarrah are at the top of my list; the harder the better as they allow me to create sharp edges and the rich deep brown, red colour often beguiles me! For pale coloured forms I often use a white limed fi nish and fi nd the light coloured jelutong and kauri
woods useful. Finally I cannot go past a twisted limb found on the wayside from the aftermath of a storm, this can always be a surprise and lead me down some interesting creative paths.

Tilt

Question: Your works have been exhibited at the Herring Island Summer Exhibition, the Melbourne International Flower and Garden Show and the Annual Awards Exhibition, where in 2011 you received the Total Tools Prize. Did you enter these exhibitions and prizes as a consequence of being a member of the ASV? How has being a member of the ASV benefi ted your career as a sculptor?
Jan: Yes, I have been an ASV member for about ten years and it has allowed me to network with like-minded souls. Although I’m not making a living as a sculptor, the programme of shows the ASV organizes every year gives me enough goals to aim for, so there is not a week goes by where I am not thinking or working on a current or forthcoming sculpture. It is always interesting to see how other members are developing their work and styles and tapping in to their knowledge base which can pay dividends.