A Galvanizing Conversation with Nir Hod

Photo Credit: Ulla Reiss 

Nir Hod is an Israeli artist based in New York. Hod studied at Jerusalem's Bezalel Academy and New York's Cooper Union School of Art. Nir's work explores old notions of hyper-seriousness and personal authenticity. Hod's realistic takes on rakish narcissism examine androgyny, identity, sexual confusion, and excess.

Nir's artwork has been exhibited widely across the world in museums, galleries, and art spaces such as the Noga Gallery of Contemporary Art, Jack Shainman Gallery, Paul Kasmin Gallery, Makasiini Contemporary Gallery, Gavlak Gallery, and Kohn Gallery, the Museum of Israeli Art, and many more.

His work has been in selected publications international presses such as Interview, Artnews, Tablet magazine, Document Journal, and more. Nir Hod led the Absolut Blank campaign in Israel. 

I had the pleasure of asking Nir how much of the day he spends creating, what keeps him inspired to create art, and so much more.

UZOMAH: How do you infuse your artistic statement through your art in a group exhibit and still stay true to the theme?

NIR: Usually, in group exhibitions, the curators or the gallery choose existing works and put them in the context and story of the theme of the exhibition idea. Many times, the works take on a new volume and light in relation to other works of art by other artists in the exhibition. My artistic statement is always preserved; this is the soul of my work and my voice that cannot really be changed. This is the beauty of group exhibitions where different works of art correspond with each other; they create a story, a world that is made up of different worlds, and they create contrast and thought. It is interesting to see how, precisely in group exhibitions, there are artists and works of art that have a different energy. They haunt the viewer and jump out. Therefore, in group exhibitions, many artists are discovered, and people understand the importance of the work and what or who is behind it.

U: What has been the most challenging thing you have experienced as an artist?

N: The main challenge I face as an artist is often related to my emotions and feelings. There are days in the studio when you feel like a genius, and there are times when you feel lost as if you're not really doing something interesting with these lives. However, I don't consider being an artist a challenge; on the contrary, I believe it's the most amazing gift a person can receive. The biggest challenge is not to create, to live without something significant motivating you. That's the greatest challenge. Life is full of challenges, and art solves them. Artists are soldiers of God; it's a mission, so challenges are not part of the story.

I Will Always Wait For You Even if You Never Come Back, Concrete, Dirt, Oil Paint, Wood , Wax, paperes, Candles, beer, pizza , cigarettes, bubblegum  2020 , Michael Kohn Gallery, Los Angeles

U: How much of your day do you spend creating? When do you feel most creative?

N: I can say that most of the time I spend is dedicated to creating. It starts in my mind, in my imagination, and in my thoughts. Every day, I go to the studio in the morning and create physical artwork. I work on paintings, sculptures, and various projects I'm involved in.

During the day in the studio, I simply work. I don't let myself overthink; it's mechanical, technical, wild, and spiritual. I don't measure time in real terms when I work, although I do know when to stop and leave the studio when I realize the day is over.

Even when I leave the studio, creativity doesn't stop. It becomes imaginative. I make room for other things in my life. I don't think creativity can ever truly stop, whether it's imaginative or conceptual. It never really leaves my mind.

I feel most creative in the early morning hours and late at night when other things inspire me and new ideas flow, driving me to create more and more and more. 

U: After the success of your book Once Everything Was Much Better Even The Future, do you see yourself producing another book that goes with one of your exhibits?

N: In the autumn of 2023, this year, we will publish another book called "THE LIFE WE LEFT BEHIND" based on two solo exhibitions I had in the past three years at the Michael Kohen Gallery. The book will showcase my chrome paintings from the last five years, as well as a new series of landscape paintings that were presented this year at the "100 YEARS IN NOT ENOUGH" exhibition. 100 Years is Not Enough paintings are imaginative landscape paintings that create an effect of an unspecified place, drawing inspiration from the iconic Water Lilly paintings of Claude Monet, where the chrome surfaces on canvas create a reflection of water in lakes, rivers, and various natural settings.

The book will also feature several sculptures that have been exhibited in recent years, such as the Wall Sculptures called I Will Always Wait For You Even If You Never Come Back and a large candle called I Miss You made from 1,800 melted Shabbat candles. 

100 Years is Not Enough oil and acrylic under and on top of chromed canvas  230 x 165 cm 2022 , Michael Kohn Gallery, Los Angeles

U: What theme would you like to explore next?

N: My art is made up of different bodies of works, and it has always been important to me to explore diverse themes, techniques, materials, history, time periods, and icons. Recently, I've embarked on two new bodies of works. The first one, titled ‘The Shades Paintings,' comprises monochromatic oil paintings inspired by historical images from darker periods. I use these as a foundation to create new visual narratives, akin to transforming a personal diary into a historical artifact that never actually existed.

The second body of works, 'Laila Tov America,' delves into a big twist on traditional family portrait paintings and traditional bronze sculptures, taking a very controversial turn."

The Life We Left Behind, Oil under chromed canvas with Patina , 250 x 184 cm 2022, Michael Kohn Gallery, Los Angeles

U: Are you more emotion-driven in your artistic process or analytic?

N: A very large part of my art is emotional. It expresses emotion and translates emotions into works of art. I believe that emotion is a superior feeling, it is above the intellect, above knowledge, and it is the essence of things and the truth. No one can teach us how to feel when creating art makes us feel the strongest and the most honest, and in the end, it is also what stays with us for a long time. I do constantly analyze and check what I do emotionally, but it is also important for me to remain emotional and deal with my emotions. When we do it well, we touch other people's emotions, and this is a great communication that art can do between and for people. There is a place where we stop playing games and stop lying. This is a primitive and intellectually sublime place related to emotions and feelings. 

100 Years is Not Enough, Oil and Acrylic on canvas 300 x 208 cm 2023

U: What artist and writer inspired you the most?

N: I began to take art seriously at the age of 15 when I attended an art school. It was during this time that we started learning about the Renaissance period. I was deeply fascinated and mesmerized by figures such as Leonardo da Vinci, Michelangelo, and Raphael. These artists not only inspired me but also had a profound impact on my life; it was more than just inspiration; it was transformative and enriching for me.

A writer who influenced me deeply was Antoine de Saint-Exupéry and the message he conveyed through the secret the fox tells the little prince …

U: What keeps you motivated to keep creating art? Do you ever see yourself not pursuing art and venturing into another field of work?

N: I don't really think about it, it's there all the time, and motivation doesn't stop. It just comes from different things. What gives me motivation to create is the amazing life around me, my family, the songs I hear, the books I read, and all the amazing movies that make me compete with them. New York draws energy but instills in me a lot of motivation, and above all, the amazing people throughout history who have changed my and many other people's lives give me a lot of motivation to create and produce. Many different fields and other worlds of doing and creating interest me and have always interested me, and I incorporate some of them in my art or in the search for different techniques and materials, but I have no intention or had the intention or thought of doing something else, but I am always curious about new ideas and new interesting things.

I Want Always To Be Remembered In Your Heart ,  Oil on Canvas, 300 x 118 cm 240 x 187 each  2015, Kasmin Gallery NY

U: Can you describe the critical elements of a painting that help you decide if it is where you like it enough to say it is complete?

N: There's a certain moment when you realize that the painting is complete. It's a feeling that you have within your own awareness or a moment of surrender. There are several songs and music that I listen to while I'm contemplating the painting, and if it works correctly in relation to the songs or the music I'm listening to, I understand that the painting is finished and I have no need to touch it anymore. There were a number of paintings that I worked on, and it was difficult for me to let go of them even though they were already finished. 

U: What does art mean to you?

N: Art is how we feel, how we speak, and what we do and create. Art is nature, and it's playing the piano, life.

The Life We Left Behind,  (the one that say tokyo) Oil under chromed canvas with Patina 250 x 184 cm 2021, Kotaro Nukaga Gallery

U: What would the world be like without the visual and literary arts?

N: As long as humanity exists in this world, art will exist

 For more information about Nir’s artwork, please visit his site.