Belgian artist Jan Janssens has a way of turning small, almost childlike figures into carriers of big ideas. His recurring “little people” navigate towering cityscapes, resisting the relentless push for speed, size, and efficiency. In his latest work, “The Dance”, Janssens turns to ceramics—an earthy, grounding material—to explore what it means to rise above systems and reconnect with the heart. Installed at The Standard, Brussels, the piece feels at once playful and profound, inviting us to pause, reflect, and remember our own inner vastness.
Ahead of the official vernissage on 4 September 2025, we sat down with Janssens to talk about his practice, his fascination with ceramics, and the spiritual undercurrents that shape his work.
Q: Jan, can you tell us a bit about yourself and your journey as an artist?
It started very early, in my father’s studio. When I was about four, I asked if I could paint too. He handed me a brush, and I painted over his canvases. To his surprise, he thought I actually improved them. I didn’t take it very seriously until I was thirteen, when painting became a way to process my feelings as a teenager. From that point on, I never stopped.
After high school, I realised the only thing that made me happy was making art, so I studied at Sint Joost in Breda. I experimented with many materials, and ceramics came almost by accident—I joined the ceramics workshop because of a girl I liked. But I fell in love with the material itself, and now I alternate between painting and ceramics. They complement each other, almost like two halves of the same practice.
At first, my work was about expressing emotion. Now, it’s about contributing something positive to the world. I believe that by creating from joy and openness, you radiate that energy outward—no words needed.
After high school, I realised the only thing that made me happy was making art, so I studied at Sint Joost in Breda. I experimented with many materials, and ceramics came almost by accident—I joined the ceramics workshop because of a girl I liked. But I fell in love with the material itself, and now I alternate between painting and ceramics. They complement each other, almost like two halves of the same practice.
At first, my work was about expressing emotion. Now, it’s about contributing something positive to the world. I believe that by creating from joy and openness, you radiate that energy outward—no words needed.
Q: Your work often features these recurring figures—your “little people.” Who are they?
They first appeared in the city, surrounded by skyscrapers. For me, those buildings represent today’s society—faster, higher, cheaper, bigger, without pause. My little people realized that world no longer suited them. They’re reconnecting with themselves, with the heart, and moving forward without fear. It’s a reminder that we all have that possibility.
Q: Walk us through your artistic practice. Where does a piece usually begin?
Always with intention. I want to create something that adds positively to the world. Often, the images arrive on their own—like The Dance, which appeared to me as a large figure with two sides. I usually walk barefoot to stay connected with my environment, and I never sketch. I prefer to work directly, letting the piece emerge without judgment. That honesty feels important to me.
Q: Why ceramics for "The Dance?"
Ceramics is an earthly, natural material. It has weight, warmth, and a sense of permanence. I prefer it to synthetic materials like plastic. For this work especially, clay felt necessary.
Q: You often contrast skyscrapers with human figures. What does that tension mean for you?
Yes, it’s always a dialogue between the relentless pace of the city and people who resist it. In The Dance, the figure rises above the buildings, realizing it is much larger than the systems that surround it. I need that contrast—the light is only visible because of the shadow.
Q: What inspired "The Dance" specifically?
Its counterpart is a large ceramic building. I felt my little figure needed an opposite, a way to emphasize its strength and vitality. For me personally, I also try to live from the heart, so the figure feels like an ally.
Q: How does the piece resonate in an urban setting like The Standard, Brussels?
It feels at home there. Brussels, with its intensity and constant movement, is exactly the kind of place that benefits from a reminder that we are more than the machine. I see echoes of that tension in the neighborhood around The Standard.
Q: Why do you think The Standard chose this piece?
Because The Standard values people. Amid the city’s busyness, it creates moments of pause, places of attention and care. The Dance carries that same spirit, so the fit is very natural.
Q: What do you hope people feel when they encounter your work?
That they carry something vast and beautiful within themselves. If my work gives people even a moment to feel that—before their thoughts rush in—then I’ve succeeded.
"The Dance" opens at The Standard, Brussels with an official vernissage on 4 September 2025.
