Nana Miyagi

In my degree show piece, Disappear, Yet Be, I tried to express the idea that even if all visible forms disappear, certain thoughts or philosophies might still remain. To embody this concept, I chose to create the work directly on the wall of the Glue Factory, knowing it would be removed after the exhibition. I feel these remaining sheets reflect the world, constantly shaped through mutual influences over time.

Artist Statement
I primarily work in abstract painting, with a focus on the expressive and conceptual potential of lines and marks. My earlier practice involved layering traditional Japanese black ink and white pigment made from shells on wooden panels, then scratching into the surface with a needle to create intricate line-based compositions. Over time, my interests have shifted from deliberate mark-making to exploring traces left by the artistic process itself—often unintentional or peripheral.

Recently, I have moved away from wood panels and started experimenting with various supports, including sketchbook paper and walls, and incorporating new materials such as oil paint, watercolor, and pastel. These transitions reflect a broader concern with impermanence and the idea that even when physical forms disappear, thought and emotion can remain—much like a memory.

Living abroad has deeply influenced my practice, prompting reflections on identity, cultural belonging, and the shifting nature of existence over time, as well as the enduring presence of certain philosophies and ideas. These reflections form the foundation of what I seek to express through my work.

Artist Biography
Nana Miyagi is a Japanese artist born in Tokyo and currently based in Glasgow, Scotland. She studied Nihonga (Japanese painting) throughout high school and during her undergraduate studies, receiving formal training in traditional materials and drawing techniques. After that, her practice gradually shifted toward more intuitive and conceptual approaches.

Since relocating to the UK, Nana has been exploring the philosophical and visual significance of the “marks” left during the artistic process—especially those that are unintentional or peripheral. For her, these traces evoke memory, thought, and presence beyond material permanence. Her recent work involves experimenting with various surfaces and media, including oil paint, watercolor, and pastel, often prioritizing the process itself over the finished result.

She continues to develop a body of work that, while informed by traditional Japanese aesthetics, interweaves contemporary art notions such as gesture and trace.