In Conversation with Nick Lee

The interview with Nick Lee

Introduce yourself!

My name is Nick Lee. I'm a painter from the Akron-Cleveland area. I'm the fourth resident here at feverdream. The work that I do revolves around the Japanese-American experience through figurative painting.

How was your experience at feverdream?

My experience was overall really good. I really enjoyed coming here every day and focusing on my craft.

What did you learn about your artistic practice during your stay? 

I learned how to really use acrylic painting mediums that I didn't necessarily use before because my practice was mainly oil paint. So it was nice to focus on a different medium for this time.

How was this opportunity a boost for yourself as an emerging artist? Did it set you ahead?

It definitely set me ahead. It really gave me the time and space to focus on a new subject matter, which is still life, which I don't necessarily always do. It's nice to have that— to have both those qualities.

How did this experience lend to any experimentation in your practice? What did you experiment with?

So this residency I got to experiment with acrylic washes which I've never used before. They look like like blood bags. (Laughs) It was really great to use those, but some of them are more matte than the others. It was finding that nice blend and material that was important.

How did you surprise yourself during your stay? 

I surprised myself by setting up my composition in interesting ways. It was very unexpected because it depends on the materials on hand and how I set up the lights. It was just very unexpected the way I would begin a painting. 

What did you think about the space you work in? Did it foster creativity?

Yes, I think it was a perfect setup for the still lives because it was in a controlled space. I didn't have to worry about lighting because I had my own light sources that I could use. 

How's it compared to your home studio? You don't have a home studio, right?

Yeah, yeah, I didn't have a home studio but I did have [a different] studio. It was lit better. I would say it was a better space to make the work that I wanted to do because the lighting was better and I got to see your friendly faces every day. (Laughs)

In the studio with Nick Lee

Speaking of smiling faces, did you feel like a member of the community at the studio space?

Yes, I definitely did. Everyone was so welcoming to me, and especially you guys upstairs. I could just come to you and ask you questions if I needed your opinion on something.

What movie were you most disappointed that we hadn't seen yet?

 Racing Stripes. Was that actually a question? (Laughs)

Was the neighborhood area surrounding the studio a positive? What is the best restaurant in the area?

Yeah, the neighborhood around here was great. I used to take my little walks around the neighborhood during lunchtime. And it was nice to listen to music while I stroll through the neighborhood. One of my favorite restaurants is probably Corner 11, the ramen shop. I only went there once, but I need to go there again.

What was your favorite piece you made while here and why?

My favorite piece is my self portrait still life. I titled it “My Name Sounds Like a Song From Your Lips.” It was very unexpected because it looks like a landscape still life and a self portrait all rolled up into one. I [have] never seen a still life before that used pants as a backdrop. And I got to use my name in a fun and humorous way. And it was to bring the viewer into what I was feeling, and show them more of my personal side.

What was your biggest takeaway?

My biggest takeaway was to use more materials within my practice. I think I can get stuck in a pattern of using the same methods. And so it's nice to incorporate more mediums and really experiment with painting.

How does it feel to be exploring your identity in your work and where did you find it most successful?

I think I'm at the stage of my life and as a young artist that I don't have to compromise on my artistic vision, nor make everyone feel comfortable with the work that I choose to do. I'm making these works for myself and for my people and I'm not necessarily trying to hold anyone's hand nor teach them anything about who I am or the Japanese -American experience. If they want to learn that on [their own], then that's great. But I'm not trying to force anyone to learn about something. This is mostly cathartic for my own experience and for little Asian kids who didn't have this growing up like I did.

Is there a piece in your mind that is a prime example of that attitude/idea?

I think they all hold that idea, this theme of authenticity and being straightforward with who I am. They're not trying to be didactic or preachy with their imagery. I think they are what they are which is important for my work and who I am as a person.

What were you most nervous about? 

I wanted to live up to the name. I think the three artists that came before me are really good painters so I wanted to have a strong body of work that was on the same level as theirs, I think. 

What was daily life like here for you? 

My daily routine was probably walking in, grabbing some coffee, getting prepared, setting up my audio books or podcasts, and saying hello to you two upstairs. And really getting into the zone and then working, taking lunch and then working for the rest of the day and then photographing what I need to fix for the next day and then going home.

In the studio with Nick Lee

What did you think about the critiques? 

The critiques were really nice, especially with the visiting artists who gave me their outside opinions on this body of work and what I can do to enhance my practice.

What was something from a critique that stuck with you?

Katie Richards, she gave me some opinions on gessoing and how to make a really smooth surface. So I definitely consider that now and I look for that in the future.

So are you fully on board with being a smooth gesso canvas print artist now?

 I'm going to try harder for that. I'm really interested in thick canvas. I don't know if I'm going to do the squeegee yet, but I definitely want to apply more layers of gesso to really get a smooth layer.

Last question, if you had to permanently remove one person in the Mez who would it be? 

What? Oh my gosh, that's not a question. I opt out. I plead the fifth. (Laughs)