![Nina Chanel Abney and Jeffrey Deitch On Finding the True Artist’s Voice [Exclusive]](https://americanfocus.online/wp-content/uploads/2025/10/abney-2-860x406.jpg "Nina Chanel Abney and Jeffrey Deitch On Finding the True Artist’s Voice [Exclusive]")
This dialogue is an exclusive excerpt from NINA CHANEL ABNEY © 2025. Reproduced with permission from The Monacelli Press. All rights reserved. This interview has been edited for brevity and clarity.
Jeffrey Deitch: Nina, your diverse vision as an artist has always captivated me. Your remarkable accomplishments in painting and paper works, alongside your NFT initiatives and ventures into multiple formats, are impressive. I’d love to explore your passion for public murals. Having collaborated on several projects, could you share your expansive vision as an artist aiming to connect with a wider audience?
Nina Chanel Abney: My diverse practice originates from my innate desire to create in various mediums. Influenced by artists like Henri Matisse and Andy Warhol, I perceive a master artist as one who evolves through diverse experimental practices. I envisioned a career where every collection advances my artistic journey.
Deitch: I recall discussing the idea of a balloon for the Macy’s Thanksgiving Day Parade together. They might not have recognized your exceptional talent, but I was truly impressed by your ambition to share your art with a broader audience.
Abney: I’ve always admired graffiti artists and their prowess in reaching wide audiences. The concept that anyone could stumble upon art simply by walking past it fascinates me. Sharing my work with a larger public excites me, demonstrating how art can be found in daily life, whether it’s on sneakers or billboards. I’m continually exploring new avenues to achieve that.
Deitch: Our first collaboration was your stunning mural at Coney Island. I sensed that placing you at the center with that prime wall would yield phenomenal results.
Abney: Thank you!
Deitch: Was that one of your earliest public murals?
Abney: Yes, it was among my first. My very first was in Newark, New Jersey, along McCarter Highway, executed through Project for Empty Space. They coordinated a project featuring about eighteen artists along the highway, each assigned a wall section. When I got the chance, I eagerly accepted.
Most of the participants were seasoned graffiti artists. I underestimated what the project would entail. We worked insane hours to dodge traffic—midnight to about 5:00 a.m. One night around 1:00 a.m., I arrived with spray paint in hand, naively believing I could paint straight on the wall. In that moment, I realized this process required a skill set I lacked. I was close to tears and panicking at 3:00 a.m. on the highway, questioning my ability to do this. It was quite the learning experience.
During that time, I learned how to adapt my art for a massive mural scale by using tape and stencils. That was my inaugural mural, and after conquering it, I completed another in Detroit with Library Street Collective prior to Coney Island. Each opportunity helped me refine my technique. I might even entertain the idea of that balloon for the Macy’s parade after finding a potential loophole!
Deitch: That would be thrilling! I admire your approach. By the time you created your third mural at Coney Island, your technique was perfected. It was amazing to witness your team creating large-scale public art during the Miami project where we worked on two gigantic walls and a tunnel; your effective assembly of collaborators impressed everyone.
Abney: Initially, I handled murals with one assistant, which was quite labor-intensive because I work spontaneously. It felt like executing a huge painting within a tight timeframe, sometimes even less than a week. Sustainability became a concern, and I discovered that I might have a slight fear of heights, prompting a shift in strategy.
A friend, JJ, who aids me in managing mural projects, introduced me to an incredible team of fearless women painters who tackle skyscraper murals without hesitation. Their talent has been invaluable, allowing for great collaboration.
Deitch: That’s really interesting. I read that you don’t create preparatory sketches. Is that accurate? One would assume that with the intricacy of your work, there would be numerous preliminary figures.
Abney: That’s correct. If I were to sketch it beforehand, I’d lose interest and wouldn’t feel motivated to paint it. The thrill for me lies in the unpredictability—solving problems in-the-moment to achieve a unified composition.
Deitch: That’s remarkable! It’s rare for an artist to develop large-scale intricate works without a multitude of sketches. Keith Haring had a similar capacity to start painting a mural from the upper left and progress across—it’s impressive how your creativity is internalized, almost like jazz improvisation.
Abney: Each painting presents a puzzle for me to solve.
Deitch: One aspect of your work that greatly impresses me is the inherent rhythm of your compositions. Traditional art criticism often discusses color and form, but rhythm is typically overlooked. Yet, it’s a vital characteristic of your work—observing one of your large pieces is a truly dynamic experience. Could you elaborate on that unique aspect?
The thrill for me lies in the unpredictability—solving problems in-the-moment to achieve a unified composition.
Nina Chanel Abney
Abney: The rhythm in my work reflects my intention to create a dynamic flow across the canvas, ensuring that the viewer’s gaze remains engaged. To achieve this, I employ systems and methods that incorporate color, shape, repetition, and text, aiming to captivate viewers’ attention.
Deitch: Do you have a background in athletics or dance? The rhythm feels quite physical.
Abney: I played tennis and soccer, and basketball when I was younger. I’ve always been quite athletic, and I also play the piano.
Deitch: Interesting! Did you have formal training, or was it more jazz-oriented?
Abney: I was classically trained but have always wanted to explore jazz. Several of my cousins are self-taught jazz musicians.
Deitch: Does your improvisational skill bleed into your painting process?
Abney: Absolutely.
Deitch: Fascinating, as your paintings resonate with sound to an extent.
Abney: I’d love to delve into jazz. I recently acquired some books and a piano to teach myself.
Deitch: Did you perform, or was it more about personal study?
Abney: I performed in recitals during my childhood alongside my stepsister, who was studying opera. It’s nostalgic thinking back to those moments. We collaborated on recitals; I played the piano while she sang. After a while, I took a step back, especially after discovering I needed glasses, but I’ve maintained some ability to play since then.
Deitch: Let’s shift to your career trajectory. You had a unique experience working in a Ford factory, which is rare among contemporary artists. It seems that and other life experiences have shaped your empathy for working-class people. Your art reflects everyday individuals, not just the art elite.
Abney: I identify with everyday people; I come from that background. My mother spent nearly forty years at the unemployment agency, and my stepfather delivered Pepsi. My roots are humble, making my entry into this elite art world both interesting and surreal. Occasionally, I still feel like an outsider within this “art world.”
Deitch: A lot of your work conveys strong social and political commentary. How do you intertwine messaging with the formal aspects of your art?
Abney: My entire practice is rooted in color, humor, and engaging viewers with challenging topics in a manner that invites prolonged interaction. I’ve observed that overly didactic works often repel viewers as they feel they’ve reached a conclusion too quickly. I aim to create pieces that are visually captivating, provoking thought while encouraging self-reflection.
Deitch: It’s also intriguing how you use humor as a way to invite engagement.
Abney: As a child, I aspired to become a cartoonist and adored sarcastic animations. Hanna-Barbera had a major influence on my sense of humor, demonstrating how animation can navigate the boundary of inappropriateness—this playful dynamic captivates me.
Deitch: Are there plans for an animated film?
Abney: I collaborated with my partner, Jet Toomer, and our friend, Zoe Lister-Jones, to write a cartoon centered on the relationship between my younger sister and me, flipping the traditional family dynamic typically seen in animations.
Deitch: That sounds fantastic! Perhaps I could assist with that endeavor.
Abney: Possibly. I envision making a short film spotlighting the same concept, and I’d love to present it at the Sundance Film Festival, especially since they feature an animation program. I’ve learned that the film industry operates differently, especially regarding ownership and intellectual property. I prefer an independent approach, taking the necessary time without compromise.
Deitch: That’s one of the best aspects of being an artist: there’s no boss dictating your path.
Abney: I aim to retain my vision without having to compromise for mainstream appeal. Nonconformity may seem risky, but I prioritize representing communities often overlooked in film and television.
Deitch: That’s intriguing. I look forward to seeing how you pull this off.
Abney: I hope so!
Deitch: It’s inspiring that you still have 20 percent further to grow. Something that intrigues me is your ability to weave narratives through an abstract array of images. It’s quite unusual to encapsulate a narrative, boldness, and abstraction simultaneously—your achievement is commendable.
Abney: In tackling representational work, I focus on distilling the imagery to its essence. I ask myself how to capture a figure with the minimal amount of detail necessary. My goal is to distill visual language into the universal.
Deitch: Another defining feature of your work is the incorporation of text, which you treat almost as abstraction, while simultaneously serving as a critical narrative element.
Abney: Text entered my work because some messages needed distinct conveyance. I perceive letters and numbers as shapes themselves, similarly engaged by their use in advertisements.
Deitch: Your work feels like a contemporary evolution of Pop art.
Abney: I have a deep appreciation for Pop art; I aspire to reflect that through my current work.
Deitch: You’re also branching into other media—ambitious sculpture is part of your future. What about your sculptures in relation to your paintings?
Abney: I’ve long desired to pursue sculpture but awaited the right moment. It took time to discover how to organically transition my painting style into sculptural form. My initial venture involved producing a vinyl toy, which provided perspective on how my work can translate into three dimensions. That was the inception, and activity has ramped up rapidly; in just the last year, I’ve created over ten sculptural pieces. Eventually, I aspire to craft large interactive public sculptures—functional pieces that people can engage with rather than simply monuments.
Deitch: I recently came across exciting news regarding your selection as one of the commissioned artists for the new John F. Kennedy International Airport terminal in New York. Are you contemplating a sculpture for it?
Abney: Yes! I’m experimenting with a new material—stained glass—drawing inspiration from New York City iconography.
Deitch: That sounds brilliant! We’re currently at Pace Prints in New York for our conversation, and your approach to printmaking and collage has truly revolutionized the medium. You’ve redefined how artists engage with prints and paper in a novel manner.
Abney: I hesitated for years before diving into printmaking. Several printmakers suggested that my art would translate beautifully into that medium, but I consistently turned them down, holding out for the opportunity to collaborate with Pace Prints. My understanding of prints was limited; I initially viewed them merely as reproductions of existing images, which kept me disinterested.
I received a C in my printmaking course, lacking the patience for the technical process. My first etching was painfully tedious, leading to my belief that printmaking wasn’t for me. However, encountering [President of Pace Prints] Jacob Lewis and the talented printmakers at Pace Prints opened my eyes. I was amazed at their innovative approach.
Working together has fostered a collaborative atmosphere where we challenge each other to look beyond traditional printmaking and create distinctive works exploring collage that expands the conversation surrounding paper as a medium.
Deitch: Your prints deliver the impact of complex paintings.
Abney: That’s precisely what we aim for.
Deitch: Among the contemporary artists I follow, your work exudes sexiness unlike almost anyone else’s while always remaining tasteful. Can you discuss how you masterfully insert themes of sexuality and empowerment so elegantly yet powerfully without crossing into vulgarity?
Abney: It stems from a genuine desire to normalize the notion that sexuality isn’t inherently vulgar. One of my motivations for moving to New York was the city’s progressive atmosphere, which encourages self-expression and challenges archaic norms.
I’ve wanted to share that when I initially arrived in New York for graduate school, your gallery was among the first I visited. Your show featuring Kehinde Wiley with live music on Wooster Street profoundly impacted me, redefining my perception of art as an expressive career.
Deitch: That was our aim—to inspire individuals. Hearing about your transformative experience moves me greatly.
Abney: I’ve always wanted to collaborate with you because your exhibitions are ambitious, engaging, and not overly formal. Our forthcoming show in February 2025, [Winging It], feels like a full-circle moment.
Deitch: Let’s conclude our discussion by envisioning what you aim to accomplish in the upcoming years—both pushing your painting practice and delving into broader cultural realms.
Abney: I’m eager to focus on sculpture and public installations in the years ahead. Currently, installation art captures my interest; I find Yayoi Kusama’s Infinity Mirror Rooms particularly inspirational—creating experiential pieces that can travel. Additionally, I’m looking at animation production, aiming to explore new concepts within that sphere. I’m also enthusiastic about developing more products, particularly sneakers.
Deitch: There’s much to look forward to!
Be sure to grab your copy of Nina Chanel Abney, releasing on October 23, at the Colossal Shop. Limited signed copies are available via Phaidon. Discover more from the artist on her website and Instagram.
