Jan Żak was born in 1884 in Brzeżany . In 1896, he and his parents emigrated to Brazil. The family settled in the colony of Dorizon . Initially he received training in blacksmithing and carpentry from his father. In time, he found his way into art. Zak's first sculptures were wooden and clay figures of saints. His undoubted talent led the Paraná authorities to support his education. As a result, he became a graduate of the School of Arts and Industry in Curitiba . He then graduated from the Academy of Fine Arts in Rio de Janeiro , and continued his studies in Belgium and France. In Paris he was introduced to the work of major European artists such as Modigliani , Picasso and Chagall . He returned to Brazil in 1923, accepted citizenship and began using the name João Zaco Paraná , under which he gained fame in the Land of Coffee.

Zaco's first great success was the 'Statue of the Sower', unveiled in 1925 on the Praça Eufrásio Corrêa in Curitiba. The figure of the sower became an allegory of the work and hope of the settlers and one of the emblems of the city. An extensive account of its unveiling was published in the Gazeta Polska w Brazylji (issue 8/1925).

The artist also made numerous works for public and sacred buildings, and one of his leitmotifs was motherhood. The sculpture 'Maternity' ('Amor Materno ') combines soft modelling with a clear, synthetic mass. Żak also created portraits and reliefs.

In 1940, Jan took up the chair of sculpture at the Academy of Fine Arts in Rio de Janeiro, where the next generation of artists was trained. His realistic, at times classicising style sought to balance expression with monumentality. The sculptor remained connected to the Paraná community, participated in the cultural life of Curitiba and the capital, and his works entered the iconography of Brazilian statehood and local memory.

However, the artist's biography is sorted out by several discrepancies. Some sources indicate that the family arrived in Brazil as early as 1887, while others say in 1896. The date of death is also given differently (17 June or 10 July 1961.). Regardless of these nuances, Żak's journey shows how emigration experience and European education have combined to create an original sculptural language capable of telling the daily heroism of work, motherhood and community. And on top of that, having a connection to Poland.