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NANAN INTERVIEW
2007.09.17
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Name:Nanan
Occupation: artist / freelance designer
Current Location: Seoul, Korea
TNG: Could you give a brief introduction?
N: Well, I am an artist. I use windows as my canvas and I draw on them. Windows are universal installations and I think window painting is a unique way to communicate with others. You can find windows all over the world. In the process of looking through the glass, people perceive my artwork. That’s why I draw on windows. The background and environment surrounding the work are just as important as the lines I draw.
TNG: Tell us about your first exhibition in New York City. What were the best and worst parts of the experience?
N: Going to NY was an answer to my prayers. I always dreamed of becoming a world renowned artist. Not because of the fame, but because I want to contribute to this world as much as possible. God gave me the ability to draw and think that people have the right to see that creation.
There wasn’t really anything bad about my experience in NY. It was a continuous surprise for me! During my one month there, people I didn't even know helped me in all sorts of ways. I wanted to stay and continue working there, but I didn’t have enough money.
TNG: How did being there affect your work?
N: New York streets, people, weather and the many old windows in Chelsea inspired me a great deal. My work transformed in this new environment and I was able to reach new depths that I couldn’t have reached in Seoul, which was great. The glass was different there as well, which was fun to work with.
For the gallery exhibition, I showed some installation work, but I found so many great spots on the street, that I did 5 other window paintings as well. Actually, people in New York were a lot more receptive than in Korea. I just showed the person in charge my portfolio or a video of me painting and got good responses every time.
TNG: In Korea, are you usually commissioned to do window paintings?
N: Often times yes, but sometimes when I work in a public space, like a park or something, I don’t get paid. The good thing about my work is that it can be erased easily, so there is not as much risk involved for the owners of the spaces.
When I first started window paintings around 2002-2003, I think I was really lucky. I actually did a painting in Shinsa-dong at a restaurant back then just on my own because I liked the spot. Pretty soon after that I got calls from UNESCO and another department store asking about my work. At that time, I was focusing on building a brand around my name and my work. When I did a window painting, I wanted it to be a ‘Nanan’ window painting, so people would start to recognize my work. I think this was really important because now even though there are other people doing window painting, a lot of people see me as the first.
left: wall painting sinsegae
department store / right: window painting chelsea, new york