March 15, 2026 | PEOPLE
FORM-MAKER
JAN ERNST
words YUZU Editorial
photos (Courtesy of Jan Ernst) Marguerite Oelofse, Suly Kuhn of Laaaik Social Media, Jan Ernst, Tijs Vervecken, Justin Craythorne
production Karine Monié
Jan Ernst’s objects at the intersection of art, architecture and nature.
In the work of South African designer and artist Jan Ernst, objects rarely appear fully engineered. Instead, they feel as if they have quietly grown into being. Across ceramics, lighting and sculptural pieces, Ernst explores the delicate territory between structure and imagination—where architectural discipline meets the unpredictable logic of nature.
Ernst approaches design with the curiosity of both an artist and an architect. Trained in architecture in Barcelona, shaped by an art residency in France and grounded in his life in South Africa, his work sits at the intersection of art, architecture and nature. Organic forms balance poetic expression with functional intent, drawing inspiration from the elegance of Art Nouveau and the dreamlike theatricality of Surrealism.
“My work moves fluidly between disciplines: it is concept-driven and sculptural, but also often functional and rooted in material exploration,” Ernst explains. “I think there’s something powerful in that tension—between form and function, intuition and precision.”
Through limited-edition works and bespoke commissions, Ernst aims to create objects that are both sculptural and functional, emotional yet timeless. With new collections, residencies and exhibitions planned throughout the year, 2026 is shaping up to be a pivotal moment for the designer, whose practice is increasingly recognised within the evolving landscape of contemporary African design.
A PRACTICE SHAPED BY LANDSCAPE
Ernst’s relationship with form began long before architecture school. Growing up in an agricultural family in South Africa meant spending long hours outdoors, immersed in nature and observing the rhythms of growth, decay and seasonal change.
“That upbringing instilled in me a deep sensitivity to organic form and the rhythms of growth and decay—something that continues to shape my work today,” he says.
Frequent moves during childhood also exposed him to the diverse landscapes of South Africa—from coastal stretches to arid plains and fertile valleys. These shifting environments shaped his sensitivity to form, texture and the relationship between objects and space. Later, Ernst completed his Master’s degree in architecture in Barcelona, where the influence of Antoni Gaudí proved formative. “My time there expanded my understanding of how art, architecture, and environment can merge into something poetic and sculptural,” he says.
After several years working in luxury residential architecture, Ernst began to feel drawn toward a more tactile form of expression. “That led me to ceramics and sculpture—mediums that allowed me to work more intuitively, and to reconnect with the raw, hands-on creativity I experienced as a child,” he explains. “Today, my practice is an ongoing exploration of the intersection between architecture, nature, and emotional form.”
OBJECTS THAT CARRY ATMOSPHERE
For Ernst, design is not only about form but about the atmosphere an object can create. He is interested in how objects hold memory, evoke mood and carry a quiet narrative through their material presence. Each piece is shaped through a balance between intention and instinct.“Every curve, cavity, and surface is intentional, yet guided by intuition—allowing space for imperfection, spontaneity, and surprise,” he says. “My practice is about creating forms that feel alive—objects that speak to their environment and invite contemplation, whether they live in a private home, a museum, or a wild, open landscape.”
MATERIAL EXPLORATION
Ceramics has always been at the heart of Ernst’s practice, but the studio’s material vocabulary has gradually expanded in recent years.
A few years ago, Ernst began incorporating bronze into his work, creating a dialogue between ceramic’s grounded matte surface and bronze’s reflective fluidity. One of the first explorations was TIDE, a limited-edition series of candelabras inspired by the movement of ocean currents.
Plaster entered the practice as a way to explore larger, more fluid forms. Ernst’s first plaster piece—a sculptural coffee table—demonstrated how structural clarity and poetic expression could coexist at a greater scale.
The studio has also experimented with woven Imisi grass, a material deeply rooted in the Cape Town region where it grows naturally. Working with local artisans who have developed their own weaving traditions around the grass, Ernst and his team created pieces that feel both ancient and contemporary.
A CONTEMPORARY AFRICAN PERSPECTIVE
Ernst sees his work as part of a broader conversation around contemporary African design—one that brings together heritage and innovation. “I believe my work epitomizes contemporary African design because it celebrates the continent’s rich cultural legacy while pushing it into new, dynamic territories,” he says.
Growing up in South Africa fostered a strong connection to land, craft traditions and storytelling. At the same time, Ernst’s international education and exhibitions have positioned his work within a global design dialogue.
“My work reflects the rich traditions of craftsmanship and storytelling that Africa has long been known for, but it also embraces the global contemporary design landscape,” he explains.
A PALETTE DRAWN FROM THE EARTH
Colour plays a quiet yet deliberate role in Ernst’s work. Rather than dominating the objects, it reinforces their sculptural presence. His palette is largely inspired by tones found in nature: soft whites, deep charcoals, earthy terracottas and muted metallics. “These colours evoke a sense of timelessness and refined simplicity, complementing the sculptural forms and textures of the pieces,” Ernst says. Ultimately, Ernst sees himself less as a designer defined by discipline and more as a maker of forms.
“I think of myself as a form-maker,” he says. “Using whatever language—be it art, design, or architecture—to explore ideas and evoke feelings. Whether a piece is collectible design, a sculptural object, or a functional light, it begins with the same intention: to create something meaningful and enduring.”
