Nan is an interdisciplinary project that redefines composition—not just as the act of writing music, but as the process of shaping space and experience through sound. It explores identity, time, and the evolving role of the composer in a deeply personal yet universal way.

At its core, Nan functions as a living self-portrait. I physically place myself within the artwork’s space and timeframe, allowing water droplets to gradually fall onto my face, dissolving my makeup and revealing my bare identity. Each droplet represents a composition—accumulating like the dots of a pointillist painting—slowly forming a clearer image of who I am as an artist. This visual metaphor captures how past works shape personal evolution and how composition serves as an intimate act of introspection.

East Asian symbolism is central to the project. The makeup design resembles an orchid (Nan in Korean), a flower that signifies resilience and integrity. The title also plays on its phonetic connection to 나는 ("I am"), reinforcing themes of self-definition. Additionally, the yellow liquid used in the piece carries layered meanings: it symbolizes both sustenance (like IV fluids, representing creative nourishment) and excretion (the act of artistic release). It also raises critical questions about the visibility and perception of Asian creators within cultural discourse.

Beyond the performance, Nan extends into an immersive sound sculpture. Within a physical installation, real water droplets fall into the space, generating sound in real time. By filling the environment with organic, acoustic textures, this work expands the role of the composer—transforming music into a spatial and sensory experience.

Through Nan, I challenge conventional boundaries between composition, performance, and self-portraiture—embracing a form of artistry that is both deeply personal and universally resonant.