Coincidence would have it that Merger and Anton crossed paths on a cold December afternoon. Anton Ian is a creative individual and visual artist whose work spans oil paintings, sculptures, and publications.
At the office of a mutual friend, Anton Ian walked in with his characteristic energy and told us about the painting hanging on the wall—his own. He then invited us to visit his atelier, which at the time was located in an old church. Amazed by the sheer volume of work, we were captivated not only by his productivity, but by the way he, as an artist, chooses his medium in direct response to his ideas.
Since that day, a bond between Merger and Anton Ian has formed. He has been consistently supportive of our journey, and we’ve followed his in return.
What is your earliest memory with art?
My grandmother took me to Tegners Museum in Dronningmølle many times when I was a kid. Such a unique place and a wild sculptor, stretching the anatomy and defied the conventions for his time. Coming there often as a kid and later was a great privilege!
I have been drawing since I could hold a pen, so it’s difficult to choose, but the drawings I made in their summer house impressed my grandparents when I was 5–6 years old, especially. The feeling that maybe my drawings weren’t only for me, but that the outside world could gain something from them as well.
I saw a Matisse exhibition at SMK when I was 18 years old, which completely melted my brain. It installed a new nervous system for me and gave me a new set of ideals of what painting could do
If you had to choose one Musical artist to play a whole day at your artelier who would it be?
Amy Winehouse. Raw talent, power, timeless soul, jazz with a modern twist. Rest her soul.
You are a multidisciplinary artist, also working with graphic design, 3D sculptures and illustrations, how do you choose your medium to express your ideas?
It’s the other way around—the medium chooses the idea. The idea is often very vague and dreamy, subconscious.
Ive noticed that your painting has a lot of known motives, such as wolves, pigeon and people, but tends to be a bit surrealistic or over exaggerated, what are your thoughts behind that?
Picasso famously asked why the painter should treat their objects of choice like a camera, when the camera has been invented. It’s more fun to pull the clay dough than mimic physical reality, which also bends and is in motion.
When did you know that you were good at painting, and how has your skills developed over the years?
I’m working on a publication that describes my process during my 20s, so it’s a bit hard to sum up briefly. I wouldn’t say I’m good at painting, since it’s a craft that’s supposed to move and evolve continuously, not be labeled good or bad.
If you could place one of your works, in any office or house who or where would it be, and why?
I have a children’s book in Poul Henningsen’s house in Gentofte. I have an exhibition soon at a place that used to be offices; a few things will hang there.
Is there a art form, you haven’t worked with yet, that you would like to have a go at
Ceramics, art toys and installations in general.
As a Copenhagen native, where is three stops in the city that would make perfect day in the sun for you?
Nørrebro in general. Rantzausgade.
Bryggebroen by Fisketorvet.
Fuglekvarteret in Nordvest.
Is there a garment in your wardrobe that holds a speciel place in your heart or has an interesting story?
I’m pretty good at wearing my clothes down, so there’s not a lot that has lasted 5+ years. I bought a white communist shirt from Noel and Concept Surplus which I love.
If you could pain a mural of a person, who would it be and on which building?
It’s difficult with physical depictions. Who deserves one and why? To answer the question, I will say Elna Hiort-Lorenzen, my great-aunt whom I was lucky to meet when I was a child. Impressive woman! Where? Anywhere with an available wall.
Anton Ian is wearing:
Arne Shirt - Blue Checked
Pablo Pants - Black
Shot and edited by
Thom Gereads
