artistic process interviews

Nozomi Rose on artistic process during covid

New York artist Nozomi Rose is a current 2021 artist-in-resident at Lower Manhattan Cultural Council (LMCC)’s Arts Center on Governors Island in NYC. There has been an Island full of snow, couple of birthday cakes, and new artist friends. During times of social distancing, the residency has been fun, and great for exchanging inspirations and ideas.

Firstindigo&Lifestyle: For artists, Governors Island is a mix of different kinds of approaches and possibilities in place. As you figured your way through the snow, how is it going?

Nozomi Rose: Yes, what I like about this residency is the true interdisciplinary nature. Our cohort is composed of artists, filmmakers, fashion designers, writers, actors, playwrights, choreographers, etc. If you visit my studio, you see the Jewish “climate change” comic artist Isaac Roller on the right and the black watercolor “house” painter Selwyn V. Garraway on the left. Isaac comes Mondays and Selwyn is there Fridays. The best part of our experience is the ferries. In Kobe, Japan, where I grew up, there were the mountains and the ocean, so this environment brings back my childhood memories, which often appear in my work.

Firstindigo&Lifestyle: You are also part of a new annual lamp show in Brooklyn. How did you get involved in creating lamps from your paintings?

NR: The annual lamp show started in 2019 when Head Hi Gallery (and art book shop) opened in Fort Greene, Brooklyn/NYC, by the Navy Yard. The exhibition is about creative individuals experimenting with lighting and illuminations, so the owners inspired me to make my “vertical orange lamp” at the time, which visitors can now view at the gallery year-round. My lamp for 2021 is “social distancing lamp” that lights up when someone comes closer than 6 feet.

Firstindigo&Lifestyle: According to the guidelines by CDC, to practice social or physical distancing, means staying at least 6 feet (about 2 arm lengths) from other people, “who are not from your household.” What is your approach to a ‘social distancing’ work?

NR: “Social distancing lamp (your word is a lamp to my feet and a light to my path)”, comes with motion activated light system. The work lights up if someone comes closer than 6 feet. For my paintings, I use both pigmented and fluorescent colors. They are combined with gold and silver paints. To achieve the maximum brightness, I started to paint on glass (with acrylic and oil paints) and attach LED light strips to my painting, but not sure, yet, if my direction is something like Mary Weatherford’s paintings. I am still experimenting with this last aspect.

Annual Lamp Show 2021

Firstindigo&Lifestyle: You have a very strong sense of color, in which the colors have a meaning attached to your personal history and memory. How about in relation to this work?

NR: For my social distancing lamp, I had a “yellow and violet” color scheme in mind at first. I was trying to paint the reflections on the water that I saw from the LMCC studios on Governors Island and the sunset from my ferry rides. 

I like the location of the Head Hi Gallery by the Brooklyn Navy Yard, in part because my grandfather served as a pilot for the Japanese Air Force during the war, which was part of the Japanese Navy. He lived to see his grandchildren. There are certain moments from my direct experiences with nature on the ferries that I tried but could not capture in photographs (with my camera) and that I desired to preserve in painting. Those seascapes resonated with me because of my personal family history. -Nozomi Rose

Firstindigo&Lifestyle: As you are working with a different medium than usual, being it paint on canvas, and now glass in which colors may appear differently, how do you mix the colors on this surface?

NR: Regarding my colors, I simultaneously started in both violet in oil and fluorescent yellow in acrylic on glass for this piece. Drying time for yellow was much faster than violet, so I had to plan accordingly. I mixed different shades of each fluorescent color and also their gradations of gold, silver, and pearl versions. Acrylic parts of my work could dry in a few minutes, but I had to wait for at least 24 hours for oil paint to dry. There were certain colors that I preferred to mix in acrylic and also others only in oil, so I layered both materials in some parts and not in others.

The processes of creating the lamp piece were more complex than my usual paintings and also new to me, from preparing a couple of different brushes for oil and acrylic at the same time to painting on glass to assembling and disassembling different LED lighting strips. They had to happen all at once due to the tight deadline, but I enjoyed the collaborative aspects (with Head Hi Gallery).

The color scheme of my actual lamp maybe darker than I first envisioned because I decided to make the top part more pink and orange in oil paint with certain abstract details. This was in part because I was planning to place the LED light on the back. You know, white paint catches light and the work was supposed to be back-lit. But, oh well. -Nozomi Rose

Firstindigo&Lifestyle: Did you have a vision of using this material as a lighting piece, perhaps an artistic direction beforehand for the aesthetical changes?

NR: My idea of the social distancing lamp stemmed from a “painting that changes composition by itself when the viewer comes closer than 6 feet,” so the image had to be something that immediately grabs people’s attention and intrigues them enough to approach the work in order to observe the detail. And I had to achieve this in abstract imagery.

I feel like everything I planned went “wrong” at the end, but I am happy that it is on the wall now. I thank Head Hi owners, Alexandra and Mösco, for taking care of it!

Firstindigo&Lifestyle: As you are currently an artist-in-resident in Governors Island, can you describe your thought processes behind the methods of working. Painting is your primary way of creating art. Are you inspired by, or still interested in abstraction?

NR: It’s not a secret that I continue to be intrigued by Ab Ex NY (Abstract Expressionism) although I can have figurative elements in my work anytime. Can one person be a conceptual artist and an abstract painter at the same time? If so, that’s me. I aim at expanding colors by going somewhere beyond Modernism and Postmodernism. My practice is almost always informed by painting, but I also change medium often. When people ask, I tend to say my practice is concept-based, but materials guide me. I mentioned Mary Weatherford earlier, but is she a painter or a lamp maker? Why and why not? I think for me, concepts come out of materials.

I’m curious to see how Ab Ex influences on younger generations will unfold, maybe because I see Japanese/Asian cultures being reflected on American art there. For example, Emily Mason who passed away in 2019 was my former teacher who studied with Hans Hofmann. She sent me to my second Vermont Studio Center Residency in 2019. Emily was deeply influenced by Japanese cultures (in addition to Italian ones).

My new painting has light in it. Somehow, I’m seeing light as a “filmic” medium here, but my work rejects narrative. Perhaps, I’m attempting to introduce “duration” to my painting, without narrative. Have you ever watched essay films by Daniel Eisenberg? One of his films was about his indirect experiences with the Holocaust that was passed onto him through his parents’ stories. -Nozomi Rose

Firstindigo&Lifestyle: I interviewed you in 2012 for your solo show at the Consulate General of Japan located in midtown Manhattan. Time flies, so do you remember your works back then?

NR: I think my color scheme was much darker then – because I was using Nihonga pigments [Japanese folk painting material]. I think I successfully reclaimed Christian painting practice with oil painting materials (just kidding!).

I recently started to read about artistic development of children and children’s abstract art. Children’s art and adult art are not the same; they visualize rapid brain developments in children. There are neurologically-relevant reasons why small children should take art lessons. Two books on this topic I recommend are: Eric R. Kandel’s “In Search of Memory” and Viktor Lowenfeld’s “Creative and Mental Growth.”

Firstindigo&Lifestyle: We are gradually starting to think practices after the pandemic, what ever they may appear to be like, in terms of experiences and lifestyles. I don’t know, how much you like to dig into your COVID-quarantine starting last year. But is there something that relates to your routine, work, making your art, and artistic process?

NR: ATP (All Things Project), had daily Zoom meetings during NYC’s mandatory quarantine, so I attended that every day in the evening. One time, our pastor got sick and had to isolate himself. That was scary for me/us because I imagined that maybe we would just watch each other get sick, but fortunately, he survived and the rest of us did not get sick.

I have personal interests in art related to the 80’s AIDS crisis. My Covid experience brought me to a new understanding of Gregg Bordowitz’s “Fast Trip, Long Drop” (1993), for example. There is a clip from “HIV Support Group Meeting July 1993” in this film where Gregg says, “[my] biggest fear is that we are just going to…our future is going to be about watching each other getting sick.”

I watched this film so many times in the past until I memorized part of his script, but I never really thought I got it. Now I think I can sort of feel how that might have been. “David” in the same clip also says, “it’s weird to live with this constant sense of mortality.” I think I can nod now. Gregg Bordowitz has a solo show coming up at MoMA PS1 in May 2021. I found it ironic that the epidemic artist’s show had to be postponed due to the pandemic. -Nozomi Rose

Firstindigo&Lifestyle: It seems that also social media platforms expanded in the process. People not only took it to the zoom. Instagram has appeared as a new local and global lifestyle. What do you think about that?

NR: Head Hi offered “Head Hi Live” on instagram every Sunday during/after the lockdown in NYC, so I tuned in with friends from other countries. I liked Mösco’s sound choices, and he sometimes DJ’ed at the Lot Radio in Greenpoint. But the weekly event also had lots of participants from the art world such as Printed Matter (note: Head Hi hosted Printed Matter NY Art Book Fair’s “after party” before the lockdown). It was fun virtually dancing with them when there was no other social life. Head Hi seems to be a community leader during Covid. I think for lots of young people living in Brooklyn, it was psychologically very challenging to wear a mask at first, but one day Mösco had his mask on when cleaning Head Hi’s storefront and that was it. People started to wear a mask and gloves after that day in the neighborhood. Something like that.

In 2018, I mysteriously decided to move my life mostly indoors (well before the lockdown), so there was no crazy, sudden transition I had to make overnight this time. During Covid, I took online courses, mostly MOOCs, made art, watched movies, and read books.

Firstindigo&Lifestyle: How has your mother been coping during this time?

NR: I learned about Hugh Laurie’s acting in the American medical drama “House, M.D.” TV series that my mother likes, and British comedy such as “Jeeves and Wooster” series. My mother is an actress and I try to keep up with those classic movies so that I can converse with her, but I am very behind.

Firstindigo&Lifestyle: Let’s peek into a possible future with the lamps. Do you have any interest in creating them more, having a brand Nozomi?

NR: The last lamp show was the first time when I consciously made a lamp, so I asked Head Hi how long they plan to offer lamp shows. They say as long as they can. I guess I will follow the flow. One of the Head Hi owners, Alexandra, told me that her own ambitious, “failed” lamp making three years ago inspired Head Hi to host the first lamp show; she desired to see how people make lamps. They call it “lamping.”

It’s a community’s annual lamping practice that you witness when you come to see the lamp show at Head Hi Gallery. My show ends on March 3rd and Part 2 with new artists starts on Friday, March 5th.

— — —

Nozomi Rose grew up in Kobe and Hawaii, went to school in Paris, Rome, and New York City, and studied Fine Arts at the City University of New York (CUNY) where she was awarded an honor residency at Barnard College/Columbia University as an ICP Scholar. Later, she graduated from Cornell University with a BFA degree in Painting. Her MFA degree in Studio came from the School of the Art Institute of Chicago, one of the top museum schools in the country and the world.

As a visual artist, she has exhibited her work at Johnson Museum of Art in Ithaca, Vermont Studio Center in Johnson, Sullivan Center at the Art Institute of Chicago, Bridge Art Fair New York, LVL3 in Chicago, the Evanston Art Center in Evanston, All Things Project in Greenwich Village, New Century Artist and Kravets|Wehby in Chelsea/NYC and CANADA gallery in LES/NYC, among others.

Artist website:

asian art fine and contemporary art interviews women in art

Artist Nozomi Rose: Dai Dai

Nozomi Rose is a rocking Japanese woman artist, who has a lot to say about the women’s role in the fine arts. From traditional Japanese Nihonga to Western artistic techniques, she uses fingernails to add dimension to the paintings. She was trained in painting at Cornell University and earned an MFA at the School of the Art Institute of Chicago. The focus for our discussion is on diversity of artistic practices. We listen to her plans from organizing a conference in New York City, where artists and scholars who have more than one practice get to present their work and share knowledge on how one discipline informs the other. She is publishing an e-book in Japanese on hybrid art teaching and learning for Tatsu-zine Publishing. Her exhibition ‘Dai Dai’ will open in New York at Japanese Embassy on October 2nd. This exhibition will feature her latest paintings of multiple techniques, along with her other works.

Firstindigo&Lifestyle: We had a discussion about patriarchal Japanese art-institution, could you explain that a bit?

NR: Haha. Are we really starting out our interview with this question? I was talking about the wife of Ikuo Hirayama, one of the most important Nihonga painters in Japan. Ikuo Hirayama is a Hiroshima-A bomb survivor, served as the President of Tokyo National University of Fine Arts and Music (a.k.a Geidai) twice, and a synonym for Nihonga, so I would say he is a Japanese version of Jackson Pollock. Well, sort of…Hirayama paints landscape and is known for Silk Road paintings. Everyone in Japanese art knows his name. His wife Michiko Hirayama entered the same university with Ikuo and was the top of their class. Ikuo was the second. Michiko, however, gave up on her painting career when they got married because their best man told her that having two painters in one household would not work. Michiko took the advice and stopped painting, and then, Ikuo truly climbed to the top of the field. It sounds similar to Lee Krasner now I think about it. There is a Japanese idiom “breaking one’s brush,” which typically means “stop writing stories,” but Japanese painters see that the words symbolize a female painter’s marriage with a male painter in Nihonga. Michiko’s episode is an urban folklore among Japanese painters worldwide. I heard this story for the first time when I was studying painting in Paris, France!

Firstindigo&Lifestyle: You are using both western means of creating art and Japanese traditional Nihonga in your art, how naturally this came about to you as an artist and when?

NR: Oh, you mean, I use Nihonga paints with acrylic medium on canvas and you see it as unusual? That is a very good point. The fact is that, though, many Japanese painters trained in Nihonga use this method in New York. Also, Nihonga pigments are heavy because their particles are much larger than western pigments, so I can’t really use gum arabic for this, like you do in watercolor. I can’t mix it with oil painting medium because oil paints cure through oxidation, and oxidation changes the colors in Nihonga pigments. These are scientific sides of why and how it came to me. The technical diversity creates the differences in visual effects in western and Japanese paintings. I am curious to see how Nihonga paints react to various western painting mediums in my work. I might try it with oil paints at a later time. I have increasingly been attracted to casual ways of making paintings, so the color change may be okay for certain types of work that I will create in the near future.

You may be asking me about the conceptual side of the work. For me, using Nihonga paints is one way of “citing” Japan in my work, but this is not the main theme I promote in art. Personally, making art has more to do with erasing my own identity as Japanese rather than emphasizing it. I was told at an early stage of my artistic career that I should stay away from quoting Japanese art materials or Japanese visual languages for my own work because they can never make my art original. For example, I can never be unique by copying Ukiyo-e patterns as art because many people have seen those. I have never trained in Nihonga; learning Japanese traditional painting never attracted me. When I was still in Japan, I was studying oil painting; I liked Japanese oil painters such as Ryuzaburo Umehara who studied with Pierre-Auguste Renoir. I enjoyed seeing the world through the lens of Japanese artists influenced by the western aesthetics.

I also liked the works by westerners influenced by the Japanese aesthetics. This included Impressionists and conceptual artists like Daniel Buren, so I went to Paris in 1999. I even went to Monet’s house in Giverny, but you know…he had a strong collection of Japanese woodcut prints and that was the secret! It was a bit unfair that I had to travel all the way from Japan to France only to witness that Claude Monet was a big fan of Japanese art. Daniel Buren, on the other hand, might not be familiar with Japan although his work looks very Japanese, especially the installations with color stripes.

Do you know there was no art in Japan until Ernest Fenollosa came and made it happen with Okakura Tenshin, who established Tokyo National University of Fine Arts and Music and was a curator at the Museum of Fine Arts in Boston? Okakura Tenshin was Fenollosa’s assistant and both of them worked for the Museum of Fine Arts in Boston. People who say that the Japanese Constitution was written by the United States would probably claim that Americans created Japanese art, but I am not a historian.

So my short answer is that it has always been on my mind. However, inserting something very Japanese directly into my own artwork, which I have long been resisted, came to me only when the Japan Tsunami Earthquake Disaster happened.

Firstindigo&Lifestyle: The collaboration between Fenollosa and Tenshin is very moving, and kind of tells us how the world of artists has always been connected.  Do you feel you are mediating between East and West with your art, or do you think that it is stereotypical to make this opposition?

NR: As a visual artist, color is my “language.” I would like color to mediate between east and west in my work, so my answer is yes and I feel there is no way for me to escape this. I am certainly interested in mediating between Japanese and American visual effects and aesthetics. Japanese art has borrowed elements from Indian and Chinese art, so it is the idea of East. I think the question is more about “how” I am doing it. I am watching how my art can mediate both east and west.

(Courtesy of A. Sortie, Inc. Nozomi Rose, ‘Happening’, 2012. oil on canvas. 8″ x 10″)

Firstindigo&Lifestyle: You participated in the Japan’s Earthquake and TsunamI 2011 art-project, could you tell me more about it?

NR: I was an organizer for Silent Art Auction and a curator for Charity Art Exhibition, but they were both student-driven projects. Our students learned a lot by carrying out those charity art events. I was just a tool for them to communicate with the College and Japan. Students who wanted to show and sell their art for their fundraisers, first on campus and then in a Chelsea art gallery, got together, and through myself, they were able to even have a commercial gallery owner donate his space for one day, for free.

We see those activities as our students’ educational experiences as well as healing processes. As a result, affected students successfully survived the crisis and graduated. I just presented on this theme with two other Professors, Kyoko Toyama in College Discovery/Counseling and Tomonori Nagano in Education and Language Acquisition, at the Opening Session at LaGuardia Community College: (For more details, look the website:

Our College President Dr. Gail O. Mellow has been sympathetic about what Japanese students went through due to the unfortunate disaster, so she briefly came to our presentation. I felt her attendance symbolized a kind gesture by the College to the affected population in Japan.

The title of our paper is “Respecting Tradition and Creating a Community: Culturally Appropriate Response to the needs of Japanese Students and the College in the aftermath of Japan’s Earthquake and Tsunami.” We previously presented the same research in a session under the same title at the 2011 Asian American Psychological Association Conference in Washington D. C.

Firstindigo&Lifestyle: Then, I am always curious what an artist like you holds for their future. I guess it is about the dreams, what are your dreams and future plans?

NR: Wow, this is an interesting question. My dreams:

1) Sending 1000 young women from the disaster areas of Japan to New York City to study visual arts at LaGuardia Community College. This can be for three months or longer like two years. They do not need to be all Japanese citizens and I believe this is the right way for us to start spending more money on women’s education. This art project is after “Fairytale” by Ai Weiwei. Please let me know if you know anyone who would be interested in funding this project!

2) Creating a visiting East Asia artists and curators’ lecture series where people from various East Asia countries peacefully collaborate. After 3/11, my school suggested me to create an East Asia art course, so I wrote and proposed HUA191: the Art of Eastern Asia. It is now part of the College’s official course offerings. We are currently developing a new East Asia/ Japanese major, in collaboration with Queens College, so the new East Asia art course is becoming a permanent addition to the major. This is a bold step for diversity in the arts of Long Island City, Queens/ NYC. The next logical step would be an art lecture series with the same theme.

Future plans

1) To film “Dai Dai.” The title of my exhibition came from a film project that I started in 2010 entitled, “Orange.” Daidai is a Japanese word for one specific shade of orange, whose sound also connotes the concept of genealogy. The film content was mainly about my personal experience with the color orange, the largest earthquake in Japan, which was the Kobe earthquake before 3/11, and the sarin gas attack on Tokyo Subway system. I think production of a contemporary Japanese folklore was my initial purpose of this project. The tsunami earthquake was literally a life altering experience for me as an artist in part because it forced me to stop writing this script, but I recently decided to re-start it by re-structuring the entire work.

2) Swan Hill Art Biennale. I am helping the Swan Hill Museum of Contemporary Art in Himeji, Japan, to create an art biennale. Himeji literally means “Princess Road.” It currently promotes art made by women and I want to eventually include transgender women. For that, I think the conservative region needs a good woman’s medical center. We want a feminist art “museum-medical center,” so I will start talking to artists and doctors who may be interested in this type of project. This can sound very different from what I have done in the past, but I think the fundraisers for Japan last year were really about helping to raise funds for medical treatments.

3) Interdisciplinary Art Practices Conference in NYC. I am planning to organize a conference where artists and scholars who have more than one practice present their work and discuss how one discipline informs another one in their own practice.

4) E-Publication. I am writing an e-book for Tatsu-zine Publishing ( in Tokyo, Japan. This will probably be about Art-in-NY for non-majors and online art learning tools because this Japanese publisher specializes in e-books for computer programmers.

(Courtesy of A. Sortie, Inc. Nozomi Rose, ‘One Summer Dream’, 2012. oil on unstretched linen)

The artist’s website:

Information about the upcoming ‘Dai Dai’ -exhibition: Opening Reception: Thursday, Oct. 4th, 2012. 11:00 a.m. – 1:00 p.m, Discussion with the artist: Friday, October 5th, 2012, at 1:00 p.m.–31_DaiDaiExibition.html Opening

  • (Daidai is a fruit)