Fragments of truth in motion
Nan Joseph’s artistic philosophy begins with a deceptively simple proposition: “One plus one, one equals three.” The phrase serves not only as a conceptual anchor but also as a method of constructing meaning through accumulation and contrast. His work spans painting, video and sound, and he views art as an evolving proposition rather than a fixed manifesto. His goal was consistent with Jasper Jones’s idea of creating something akin to truth, not an absolute but an approximation shaped by perception and experience. Experimentation guides his process, allowing ideas to surface through action and revision rather than strict planning. The works often feel fragmented, but they are held together by an ongoing exploration of how the parts relate to each other. Viewers encounter images that are layered both materially and philosophically, creating feelings before interpretation. In this way, Nan positions art as a gradually unfolding event, requiring the viewer to experience it first and analyze it later.
His academic foundation began in Hawaii, where he earned a Bachelor of Fine Arts degree in 2014. Initially attracted to painting, he later found himself interested in printmaking, partly through the influence of mentors who introduced him to the technical and conceptual possibilities of the discipline. The gender dynamics within the departments, with painting largely dominated by women and printmaking directed by male mentors, shaped his understanding of artistic communities and perspectives. The printmaking process, particularly the emphasis on transfer and reversal, left a lasting mark on his approach. Although drawing became the core of his practice, he considered it to be largely self-taught, a field learned through persistent exploration rather than formal instruction alone. The combination of structured training and independent discovery fosters a mindset that values process and results. Techniques absorbed in the printmaking studio would later reappear in unexpected ways, particularly in his monochrome paintings where impressions and gestures intersect.
After graduation, Nan spent nearly two years in Brooklyn, New York, immersing himself in a city he considered a benchmark for ambitious exhibitions and rigorous artistic dialogue. The density of the galleries and the intensity of the art scene provided both inspiration and challenges. Exposure to diverse creative communities broadened his understanding of how geography affects artistic creation. Encounters with other cities, including Los Angeles, Miami, and South Korea, further illuminated the differences in pace, audience, and critical culture that shape regional art scenes. Eventually, he returned to Hawaii, where he has lived and worked for the past ten years. The distance from the continent’s major centers did not lessen his involvement but sharpened his perspective. Working in the place where he grew up allows him to combine global influences with personal history, reinforcing his belief that context and experience continually reshape artistic identity.
Joseph Nam: Influences, Icons, and Expanded Conversations
Nam’s artistic development dates back to high school, where he developed an early ability for visual expression, encouraged by supportive opportunities at school and exposure to important works. Andy Warhol’s portraits of Marilyn fascinated him during his formative years and made him realize the power of repetition and celebrity imagery. In college, his focus expanded to Jasper Johns and the Abstract Expressionists, as well as artists such as Richard Tuttle, David Salle, and Martin Creed. Conceptual art also became an important reference point, emphasizing ideas rather than purely aesthetic concerns. Art schools present a landscape in which students tend to be attracted to certain artistic models while striving to differentiate themselves. Mr. Nan experienced this dynamic firsthand, absorbing influence while questioning how to establish himself. The tension between homage and independence continues to inform his practice, shaping a body of work that acknowledges precedent without succumbing to imitation.
Over time, his reach has expanded significantly. Barnett Newman’s striking color fields, Marcel Duchamp’s radical redefinition of artworks, and the phenomenon of zombie abstraction all contributed to his evolving perspective. He also draws meaning from the psychological intensity of Edvard Munch, the text-based investigations of Glenn Ligon, and the material experiments of artists such as Christopher Wall and Rashid Johnson. Contemporary painters such as Josh Smith, Joe Bradley, and Jeff Elrod provide additional points of conversation, while Ragnar Kjartansson and Bruce Nauman extend the conversation into performative and conceptual practices. In addition to the visual arts, music and film have been his abiding passions since his teenage years, when the use of computers opened the way to endless media. John Lennon’s creative spirit resonated with his interest in composing and recording music. This interdisciplinary curiosity reflects a belief that the language of art is fluid, able to shift between image, sound and narrative without losing coherence.
Such diverse influences do not translate into a single identifiable style. Instead, Nam sees diversity as a defining characteristic. He admired the instantly recognizable visual language of Jean Michel Basquiat but refused to limit himself to one aesthetic characterization. His practice is more like a television that changes channels, with each frequency showing a different expression. Themes often revolve around philosophy and the human condition, and the works are designed to provoke an immediate response before clarity of thought emerges. Critical self-evaluation plays a central role in this process, as he believes that the power of art depends on the artist’s willingness to question and refine his or her work. If a piece failed to resonate with his audience, he acknowledged that another piece might succeed. This openness underscored his belief that art thrives on diversity rather than uniformity.
Process, Experimentation and Thought Forms
Central to Nam’s daily practice is a commitment to pursuing ideas that he has yet to realize, or at least not in his own way. Inspiration often begins with the simple impulse to see something that doesn’t yet exist. From there, experimentation guides the next steps, whether by layering paint, transferring ink, or exploring new formats. The technique of monotype tracing became particularly important, allowing him to integrate the logic of printmaking with the scale and presence of painting. In this method, paint is applied to the surface of a substrate and the canvas is pressed against it, revealing the mark through contact and pressure from the reverse side. The resulting images have an element of unpredictability, as impressions emerge gradually. These procedures reinforced his belief that art is an evolving dialogue between intention and chance, where meaning is produced through interaction rather than strict control.
Future projects reflect both awe and curiosity. He expressed interest in creating study paintings inspired by Jasper Jones’s “American Flag” work, not as reproductions but as analytical exercises to examine structure and symbolism. The homage piece, influenced by David Salle and the Picture Generation, marks an engagement with layered imagery and cultural references. Large-scale cutouts reminiscent of Matisse, vast collages, and even comic book page drawings took over his imagination. Silkscreen painting promises to return once again to its printmaking roots, blending mechanical repetition with painterly gesture. Parallel to these visual ambitions is a growing dedication to music production, a pursuit that requires time and resources but remains central to his creative aspirations. This forward-looking agenda demonstrates that his practice has never been static. Each future project builds on prior knowledge while pushing into unfamiliar territory, sustaining a cycle of renewal and inquiry.
The philosophical basis of his work ensures that experiments are never random. The idea of multiple elements combining to create something greater than their sum is reflected both compositionally and conceptually. Color gradations, cross-marking, and various media visually equate to his essential statements. Viewers are encouraged to feel the surface inwardly before constructing an interpretation. He sought to produce a response rooted in feeling, trusting that intellectual involvement would follow. This approach is consistent with his belief that art approaches truth rather than outright proclaiming it. Through persistent questioning and revision, he fashions works that feel temporary yet purposeful. Each canvas or project becomes a site where ideas take physical form, revealing the interplay between fragmentation and unity that defines his wider philosophy.
Joseph South: Red, Creation, and Synaptic Images
Among his works, the multi-titled Sun Times / Max Cherry / Clifford / Knight / Symbol / Red Leaf occupies a particularly meaningful place. The painting is striking not only for its layered title but also for the strength of its composition. The surface is predominantly red, dynamic and suggestive of something primal. The dynamism of the form evokes the spark of creation itself, as if the image captures the moment when matter is organized into consciousness. He described the effect as akin to synaptic firing within the brain, a metaphysical event that translates into pigments and gestures. The painting embodies his philosophy of multiplicity, with many of its titles suggesting shifts in identity and interpretation. Each name frames the work differently, reinforcing the idea that perception changes meaning. This piece resonates deeply within his oeuvre, serving as both a personal milestone and a conceptual touchstone.
Technically, the painting exemplifies his adaptation of monochromatic painting techniques on a larger scale. By applying paint to a prepared matrix and pressing the canvas onto it, he produces marks that are produced by transfer rather than direct brushstrokes. This process introduces an element of reversal and surprise, as the final image is only fully revealed when the canvas is lifted. The physical act of pressing and lifting becomes integral to the energy of the composition. The red accumulates in different densities, creating depth and vibration that animates the surface. The resulting forms are both organic and abstract, resisting single interpretation. In this work, process and philosophy merge seamlessly, demonstrating how his background in printmaking continues to influence his painting practice.
Sun Times / Max Cherry / Clifford / Knight / Symbol / Red Leaf outlines the trajectory of Nam’s artistic journey, linking his academic training, philosophical inquiry and commitment to experimentation. The painting’s layered identity reflects his broader refusal to fall into a single stylistic category. Its intense color fields recall the influence of American abstraction while projecting a distinctly personal emotion. The sense of creation contained in the red blockbuster is consistent with his desire for the audience to feel it first and then understand it. Through this work, the principle of one plus one plus one three becomes tangible, embodied in paint and pressure. It is a testament to his ever-evolving practice, with each new project building on past explorations while opening up space for further transformation.
