Jonathän Jouan Studios

INSPIRATION: This specific piece is inspired by a tale of ancient sorcerers from middle east that were able to capture Djinns (intangible spirits) only with a safety pin. AMOEBAS REALM - COLLECTION STATEMENT: Conceptual Statement: Amoebas Realm began as a way for me to explore the fragility of human dominance and our relationship with the unseen forces of nature. I’ve always been fascinated by the idea that the smallest, often invisible organisms can wield extraordinary power—forces we underestimate until it’s too late. This collection imagines a future where humanity’s place on Earth has shifted, and a hybrid amoeba, born from Naegleria Fowleri and Euglypha Rotunda, emerges as the planet’s dominant lifeform. For me, this project is deeply personal. It reflects my own fascination with adaptation, survival, and the tension between beauty and danger. Rye straw became my chosen medium not just for its natural beauty but because it embodies the same survival mechanism as the amoebas in my story. Like Euglypha Rotunda, rye straw absorbs silica to protect itself, creating a shiny, resilient surface. This parallel felt like a perfect metaphor for the creatures I envisioned—an unexpected bridge between the organic and the imagined. Each piece feels alive to me, almost like a preserved specimen pinned for study. The gold rods piercing these forms symbolize control—a nod to the onmyoji priests of ancient Asian traditions who used ritual sticks to seal spirits. This connection between the spiritual and scientific realms resonates with my belief that the unseen, whether mythical or microscopic, holds extraordinary power. Through Amoebas Realm, I wanted to bring that hidden world into focus, challenging viewers to see the beauty in the unseen and to question their assumptions about dominance, adaptation, and survival. Technical Statement: Creating the Amoebas Realm collection is both a technical and emotional process for me. Each piece begins with a solid wooden core, which I carve by hand to mimic the fluid, unpredictable forms of microscopic organisms. The carving process is meditative—a way to shape a narrative with my hands before the more intricate work begins. Rye straw is at the heart of this collection, and working with it feels both familiar and endlessly challenging. Each scale is individually dyed, cut, and nailed to the wooden base, creating a shimmering surface that mimics the intricate structures found in nature. This part of the process requires patience and focus; it’s where I feel most connected to the piece, as if each nail secures not just a scale but a fragment of the story I’m telling. The gold rods, which pierce and structure the forms, add another layer of complexity. I cut, engrave, and bend each rod by hand, inspired by ancient ritual tools but reimagined for this speculative world. These rods are more than decorative—they’re symbolic of the human desire to control, to pin down what we don’t fully understand. What makes this collection personal to me is how it bridges so many aspects of my practice: the meditative precision of traditional craftsmanship, the narrative depth of folklore, and the speculative creativity of imagining a post-human future. It’s a reminder that even in the smallest details—the texture of straw, the curve of a rod—there’s a story waiting to be told. NARRATIVE: Logbook of a Digger - No 919 Many days have passed since I unearthed the first discovery. I’m just a digger, yet something about being the one to reveal it feels significant. Or maybe I just want to believe I’m special... As the excavation continued, we uncovered a perfectly square cavern. Strange beings were affixed to the walls, as if they had always been there, silently watching. Among them, one stood out. It seemed sealed tightly, almost as if it didn’t want to be disturbed. But when we finally managed to free it, I couldn’t shake the feeling—it was fading, as though it had been holding on for far too long.

INSPIRATION: This piece is inspired by the desire of humans to control both nature and evolution. AMOEBAS REALM - COLLECTION STATEMENT: Conceptual Statement: Amoebas Realm began as a way for me to explore the fragility of human dominance and our relationship with the unseen forces of nature. I’ve always been fascinated by the idea that the smallest, often invisible organisms can wield extraordinary power—forces we underestimate until it’s too late. This collection imagines a future where humanity’s place on Earth has shifted, and a hybrid amoeba, born from Naegleria Fowleri and Euglypha Rotunda, emerges as the planet’s dominant lifeform. For me, this project is deeply personal. It reflects my own fascination with adaptation, survival, and the tension between beauty and danger. Rye straw became my chosen medium not just for its natural beauty but because it embodies the same survival mechanism as the amoebas in my story. Like Euglypha Rotunda, rye straw absorbs silica to protect itself, creating a shiny, resilient surface. This parallel felt like a perfect metaphor for the creatures I envisioned—an unexpected bridge between the organic and the imagined. Each piece feels alive to me, almost like a preserved specimen pinned for study. The gold rods piercing these forms symbolize control—a nod to the onmyoji priests of ancient Asian traditions who used ritual sticks to seal spirits. This connection between the spiritual and scientific realms resonates with my belief that the unseen, whether mythical or microscopic, holds extraordinary power. Through Amoebas Realm, I wanted to bring that hidden world into focus, challenging viewers to see the beauty in the unseen and to question their assumptions about dominance, adaptation, and survival. Technical Statement: Creating the Amoebas Realm collection is both a technical and emotional process for me. Each piece begins with a solid wooden core, which I carve by hand to mimic the fluid, unpredictable forms of microscopic organisms. The carving process is meditative—a way to shape a narrative with my hands before the more intricate work begins. Rye straw is at the heart of this collection, and working with it feels both familiar and endlessly challenging. Each scale is individually dyed, cut, and nailed to the wooden base, creating a shimmering surface that mimics the intricate structures found in nature. This part of the process requires patience and focus; it’s where I feel most connected to the piece, as if each nail secures not just a scale but a fragment of the story I’m telling. The gold rods, which pierce and structure the forms, add another layer of complexity. I cut, engrave, and bend each rod by hand, inspired by ancient ritual tools but reimagined for this speculative world. These rods are more than decorative—they’re symbolic of the human desire to control, to pin down what we don’t fully understand. What makes this collection personal to me is how it bridges so many aspects of my practice: the meditative precision of traditional craftsmanship, the narrative depth of folklore, and the speculative creativity of imagining a post-human future. It’s a reminder that even in the smallest details—the texture of straw, the curve of a rod—there’s a story waiting to be told. NARRATIVE: Logbook of an Amoebist No. 77 “It’s been a few months since I began under the Master. He’s not exactly trying to pass down his knowledge, so I decided to begin my own experiments based on what I’ve observed. After several attempts, I used a relic from the past— I realized a few days ago that the assimilation between older relics (the one brought to me by a digger) and a Sils is easier to control. Last night, I cultivated a Sils that now resembles the night sky. We Amoebists believe they take on this color to lure prey more easily into the shadow realm… It was a long process. I had to let it grow slowly, patiently. Once it reached the proper size, I sealed it using one of my forged rods—crafted especially for this purpose. There’s still some discoloration around the sealing rod, but I consider it a success. I hope the Master will praise me for it…”

SPECIFICATION : Year : 2025 Dimensions : 33× 24× 10cm Materials : Rye straw, Solid brass, Oak Wood, Glass Mirror DESCRIPTION: INSPIRATION: This piece is inspired by the desire of humans to control both nature and evolution. AMOEBAS REALM - COLLECTION STATEMENT: Conceptual Statement: Amoebas Realm began as a way for me to explore the fragility of human dominance and our relationship with the unseen forces of nature. I’ve always been fascinated by the idea that the smallest, often invisible organisms can wield extraordinary power—forces we underestimate until it’s too late. This collection imagines a future where humanity’s place on Earth has shifted, and a hybrid amoeba, born from Naegleria Fowleri and Euglypha Rotunda, emerges as the planet’s dominant lifeform. For me, this project is deeply personal. It reflects my own fascination with adaptation, survival, and the tension between beauty and danger. Rye straw became my chosen medium not just for its natural beauty but because it embodies the same survival mechanism as the amoebas in my story. Like Euglypha Rotunda, rye straw absorbs silica to protect itself, creating a shiny, resilient surface. This parallel felt like a perfect metaphor for the creatures I envisioned—an unexpected bridge between the organic and the imagined. Each piece feels alive to me, almost like a preserved specimen pinned for study. The gold rods piercing these forms symbolize control—a nod to the onmyoji priests of ancient Asian traditions who used ritual sticks to seal spirits. This connection between the spiritual and scientific realms resonates with my belief that the unseen, whether mythical or microscopic, holds extraordinary power. Through Amoebas Realm, I wanted to bring that hidden world into focus, challenging viewers to see the beauty in the unseen and to question their assumptions about dominance, adaptation, and survival. Technical Statement: Creating the Amoebas Realm collection is both a technical and emotional process for me. Each piece begins with a solid wooden core, which I carve by hand to mimic the fluid, unpredictable forms of microscopic organisms. The carving process is meditative—a way to shape a narrative with my hands before the more intricate work begins. Rye straw is at the heart of this collection, and working with it feels both familiar and endlessly challenging. Each scale is individually dyed, cut, and nailed to the wooden base, creating a shimmering surface that mimics the intricate structures found in nature. This part of the process requires patience and focus; it’s where I feel most connected to the piece, as if each nail secures not just a scale but a fragment of the story I’m telling. The gold rods, which pierce and structure the forms, add another layer of complexity. I cut, engrave, and bend each rod by hand, inspired by ancient ritual tools but reimagined for this speculative world. These rods are more than decorative—they’re symbolic of the human desire to control, to pin down what we don’t fully understand. What makes this collection personal to me is how it bridges so many aspects of my practice: the meditative precision of traditional craftsmanship, the narrative depth of folklore, and the speculative creativity of imagining a post-human future. It’s a reminder that even in the smallest details—the texture of straw, the curve of a rod—there’s a story waiting to be told. NARRATIVE: Logbook of an Amoebist No.263 The 1000th night. I record this log as an update on my latest studies under the guidance of the Amoebist Master. These past days have brought many lessons and failures... A few small successes have kept alive my desire to understand these entities — I’m likely too stubborn to give up. My most recent experiment involved a Sil from the arid lands. I traveled for 27 nights to retrieve this specimen, which I’ve once again managed to grow. Lesson 1: Given the increasingly hostile environment, I must consider stronger protection for my next expedition (see Log No.251). A more experienced guide may also be advisable. Lesson 2: Better travel shielding is essential — the sample collected quickly changed color under the temporary seal. As for the experiment itself: I allowed the Sil to develop around the same reflective material found among the ancestors’ ruins. The temporary seal expanded in a uniform shape, and once growth had stabilized, the final sealing layer was applied.

SPECIFICATION : Materials : Each eggy collection is different year by year and shows different craft techniques. Year : 2020 - Today Dimensions : 33 x 22 x 10 cm DESCRIPTION : Eggÿ, a mirror design, draws inspiration from the splendor and elegance of Fabergé eggs, renowned for their timeless artistry. This distinctive mirror features an array of small, exquisitely adorned mirrors, each enhanced with straw marquetry. This technique brings equal attention to both the front and back of the mirror, creating a piece that is as captivating as it is unique, embodying the enduring beauty of the Fabergé inspiration.