An Interview With Nuohan Jiang
Nuohan Jiang's paintings beckon viewers into a realm where the mysteries of the universe and the introspective journey of the self intertwine. 1 Through a language of spheres, mist, light, and swirling forms, she explores humanity's timeless fascination with the cosmos, inviting contemplation on the potential for our minds and energy to transcend physical boundaries. Her work, imbued with a meditative quality, reflects a deep engagement with themes of vastness, time, and the delicate balance between transience and immortality, all rendered in a tranquil palette of blues, blacks, grays, reds, and greens.
Can you tell us a little bit about you?
My name is Nuohan Jiang. I often go by Nuo. I was born in China and have been based in Brooklyn since 2018. I primarily paint in oils on canvases and wood panels. My recent paintings explore human's timeless fascination with the mysteries of the universe and invite viewers on a journey of self-discovery. I graduated from Pratt Institute with a BFA in painting in 2024. After graduation, my paintings were shown at the Visionary Project, Anderson Contemporary, Sotheby’s Institute of Art, Downtown Association Club, Saint Marks Art, One-Eyed Studio at Rockella Space, and BAU Gallery in New York. I am also the founder of Artists Living Room, where I have organized five in-person and three online shows since 2021. I started Artists Living Room with the drive to experiment with bringing more interactive elements into the experience of viewing exhibitions.
Your paintings beautifully capture that human fascination with the universe. What initially sparked your own curiosity about this connection between us and the cosmos? Was there a specific moment or experience?
Thank you. I have always been curious about the mysteries in the universe since I was a child. Perhaps it is human nature to seek answers about our existence. We want to understand how everything began and whether our existence is merely a coincidence. It’s fascinating to think that long before the invention of the telescope, people were already trying to predict their fortunes by gazing at the stars at night. This practice existed in many cultures. Our ancient ancestors believed there was a connection between our fates and the stars, which are part of the universe. This curiosity about our connection to the universe has lingered in my mind, but it was not until 2023 that I started to explore it through painting. A series of events during that time made me realize more about the impermanence in lives and the importance of building inner strength and peace that is resilient to the transient nature of life. It brought me back to looking into the night skies. I began to think about how my own existence is both so small and fleeting, yet also a part of this infinite being. This perspective brings me a sense of relief.
Why is it important for you to explore both the vastness of the universe and the landscapes of our minds in your art?
I find both of these topics mysterious and intriguing. There are similarities between the vastness of the universe and our minds; both are intricate and largely remain unknown to us. I enjoy indulging in my curiosity about them. More importantly, by learning about these subjects I become more humble and gain a sense of relief.
You mention Carlo Rovelli's "The Order of Time." Could you share how his ideas about time have subtly influenced your artistic approach or the way you depict space and movement in your work?
In "The Order of Time" physicist Carlo Rovelli presents the idea that time is an illusion created to help us understand the world around us. He argues that there is no real past, present, and future. For instance, because it takes time for light to travel and for our brains to process our surroundings, our perceptions of "now" are always slightly delayed. Rovelli shows an example that if we watch the sunset, in fact, we see what occurred a few minutes earlier. Time is a constant theme in my painting as I am intrigued by its influence on how we perceive and document the world. I also believe that time plays a significant role in the experience of paintings. Some works evoke a sense of speed, while others create a feeling of stillness or slow down the time. The element of time within a painting can be influenced by the shape of the brushstrokes, the colors used, and the stories being told. Rovelli's ideas inspire me to explore how I represent time in my own work. My paintings often depict ambiguous spaces and transitional moments -- those instances when something is either about to happen or has just started to unfold. Yet, within those brief moments, there is a sense of infinite stillness, as if time has been stretched.
Your paintings have such a calming, meditative quality. What specific techniques do you use to create this atmosphere?
Color palettes are the first element I consider to establish a calming quality in my paintings. I tend to limit the number of colors I use, often selecting those that present a beautiful yet quiet effect of luminosity together. While painting, I usually apply a mix of thin, translucent layers of paint to develop an ethereal feeling. I also use thick, creamy paints to maintain a sense of grounding in some areas of the paintings needed. Moreover, the directions and shapes of my brushstrokes play a significant role in creating the atmosphere.
What do you hope viewers will experience or take away after encountering your art?
I find having more inner peace to be a truly soothing feeling, so I always hope my paintings are an invitation to enjoy a moment of quietness and peacefulness. I believe that if more people can have more inner peace, the world would also be a better place. However, it can be challenging to feel peaceful, especially with everything happening constantly.
Did you always know you wanted to be an artist, or did your passion evolve over time?
Since I was a kid, I had been saying I wanted to be an artist. But I was often told that it wasn't a real career and that only a few people could make it. Besides my mum, there wasn't anyone around me who had much knowledge about art and contemporary artists. But somehow they all knew Van Gogh and would usually use his story to illustrate how difficult it is to make a living as an artist, even for one of the greatest. I came to New York to study at Pratt Institute, initially majoring in metalsmithing and jewelry, thinking I should choose a more practical field but still be a part of art. But then after taking an oil painting class, I discovered a passion for it that I couldn't ignore. Being in New York also opened my eyes to the possibility of pursuing a career as an artist. As a result, I decided to switch my major to painting and finally embraced my desire to follow this path.
Have you seen any exhibitions or artworks recently that sparked new ideas for your own work?
I just saw several exhibitions in Chelsea recently, and I particularly loved the handmade books in Laura Owen’s show at Matthew Marks Gallery in Chelsea. While they didn't immediately inspire new ideas for my current work, they did evoke fond memories from my childhood. As a child, I would design games in my sketchbook for my classmates to play. I also created little creatures for them to keep as pets in the game book. Owen's handmade books and drawers remind me of the pure joy I found in making things as a child, and I truly appreciate that feeling.
What is your favourite book or film and why?
One of my favorite books is "Siddhartha" by Hermann Hesse. This book inspired me to explore Buddhist philosophies, which have influenced both my work and my life greatly.
Are you working on any projects you are particularly excited about?
I’ve been shifting to larger scales after primarily working on small wood panels last year. I’m excited to explore how scale affects my work and how I can use this understanding to create a more powerful sense of portals to another world.