Untitled Document

As one of Myanmar’s top emerging artists, Nann Nann is still exploring a wide variety of subject matter and style. Still in her early thirties, she has had over 15 exhibitions, obtained two sculpture design commissions, and was awarded Honorable Mention in the 2004 Myanmar Times Contemporary Art Awards. She is a graduate of the University of Culture, Yangon, with a diploma from London’s Slade School of Fine Arts Summer Program.

Because the traditional arts are still very strong and pervasive in Myanmar, many figurative renditions of conventional iconography abound: monks with umbrellas, bullock carts, and ethnic portraits. In Nann Nann’s Monk Series, however, she has dynamically reinvestigated this traditional subject matter in her own contemporary visual language.

Likewise, in her Tall Mann series, bright bold primary colors and economy of line define delightful variations of a standing man. The large format canvases enhance the striking effect of color and line.

Nann Nann’s first works to gain regional and international attention were her black and gold abstract paintings -- a complete departure from Myanmar’s traditional, more figurative, works. In viewing the many paintings she has done in this attractive style, it would be easy to conclude that their purpose is solely decorative. However, complex and personal meanings reside in most of these works: she has indicated that the black/white/gold configurations represent her progression in Buddhist meditation.

In one particular painting, a powerful political message lies hidden behind the elegant formal vocabulary. Because of censorship within the country, unfortunately this painting cannot be identified due to the risk it could pose to the artist.

Most of Myanmar’s people are very devout Buddhists, as are most of Myanmar’s top artists. This is expressed in their work in a number of interesting ways, as in Nann Nann’s black and gold works described above. However, one of her new paintings, Buddha Behind Bars, holds a unique authoritative dialogue with her own culture and social environment that is most exceptional. Pushing the envelope, it is a rare contemporary work from Myanmar.